Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Books; Books edited  

Ricketts, Alan (compiler)

A26     Collected Poems of Raymond Knister. Foreword Raymond Knister. Toronto: Ryerson, 1949. xli, 45 pp. With a memoir by Dorothy Livesay. (See B377.)

A27     and Seymour Mayne. 40 Women Poets of Canada. Montreal: Ingluvin, 1971. 141 pp.

A28     Woman's Eye: 12 B.C. Poets. Foreword Dorothy Livesay. Vancouver: Air, 1978. xi, 101 pp.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Books; Broadsides  

Ricketts, Alan (compiler)

A18     Post-Operative Instructions. Kingston: Quarry, 1968.

A19     Collared. Dreadnaught 52 Pickup, No. 29. Toronto: Dreadnaught [1977?]. See A16 ("Collared").

A20   Winter Ascending. Caledoma Writing Series. Prince George, B.C.: Caledonia [1977?]. See A15 (revised -- "Winter Ascendant").

A21     The Phases of Love: Adolescence, 1925-1928. Toronto: League of Canadian Poets, 1980. Includes "Analysis," "Confession," "The Game," "Interim," "May 11, 1927," "1925 or 26," "Primitive," and "Unkind Haiku."

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Books; Criticism  

Ricketts, Alan (compiler)

A24     "Symbolism and the Metaphysical Tradition in Modern English Poetry." Diplome d'Etudes Superieures Thesis Sorbonne 1932.

A25    "Rhythm and Sound m Contemporary Canadian Poetry." M. Ed. Thesis British Columbia 1966.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Books; Editorial work  

Ricketts, Alan (compiler)

A34     New Frontier. Regional editor, April 1936-Oct. 1937.

A35     Northern Review. Regional editor, Dec. 1945-Summer 1947.

A36     White Pelican. Guest editor, Fall 1974, Special Issue on the Canadian North. Also listed as Editor for i, No. I (Winter 1971), 2, No. 1 (Winter 1972), and 2, No. 3 (Summer 1972).

A37     CV/II. Editor, Summer 1975-Autumn 1977.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Books; Manuscripts  

Ricketts, Alan (compiler)

A29     Elizabeth Dafoe Library, Special Collections, University of Manitoba, Winnipeg, Manitoba

The manuscript collection, consisting of 39 boxes, includes articles, fiction, radio plays, correspondence, and other miscellaneous works. A short list of the contents of each box follows:

Box 1: Recent correspondence. 36 folders.

Box 2: Recent correspondence and miscellaneous business. 17 folders.

Box 3: Basic materials from the 1930s used in Right Hand Left Hand. 53 folders.

Box 4: Professional correspondence (by subject: A-C). 22 folders.

Box 5: Correspondence with organizations, publishers, and journals, 1960s and 1970s (by subject: C-K). 44 folders.

Box 6: Literary correspondence (L-M). 24 folders.

Box 7: Literary correspondence (by subject: M-W). 38 folders.

Box 8: Personal and literary correspondence with poets (A-M). 43 folders.

Box 9: Personal and literary correspondence with poets (N-W). 27 folders.

Box 10: Earlier papers of Dorothy Livesay: family letters, early writings, etc. 12 folders plus index cards.

Box 11: Research notes on the life and works of Isabella Valancy Crawford. Part I. 25 folders.

Box 12: Research notes on the life and works of Isabella Valancy Crawford. Part II. 11 folders.

Box 13: Miscellaneous correspondence, clippings. 17 folders.

Box 14: Miscellaneous. 23 folders.

Box 15: Personal letters, 1960s and 1970s. 8 folders.

Box 16: Personal correspondence. 4 sections.

Box 17: Correspondence. 4 expanding files.

Box 18: Reviews and articles. 45 folders.

Box 19: Articles on and by Livesay, 25 folders.

Box 20: Articles and prose by Livesay. 32 folders.

Box 21: Miscellaneous. 21 folders.

Box 22: Prose (A-J). 71 folders.

Box 23 : Prose (j-w). 53 folders.

Box 24: Articles and correspondence, late 1960s and early 1970s. 25 folders.

Box 25: Clippings, articles, 28 folders.

Box 26: Miscellaneous. 9 folders.

Box 27: Personal and literary correspondence, 29 folders.

Box 28: Correspondence. 27 folders.

Box 29: Correspondence and fiction drafts. 33 folders.

Box 30: Published poetry, correspondence. 39 folders.

Box 31: Private correspondence, 28 folders.

Box 32: Correspondence, 1920s-1940s. 22 folders.

Box 33: Family correspondence. 7 folders.

Box 34: Published and unpublished poetry. 35 folders.

Box 35 : Published and unpublished poetry. 13 folders.

Box 36: Published and unpublished poetry.

Box 37: CV/II correspondence.

Box 38: Professional materials, correspondence (A-W). 51 folders.

Box 39: Louisa Loeb Ph.D. dissertation on Florence Randal Livesay.

Box 39, part 2. Tapes: 1.01 1964:Crawley family and Dorothy Livesaya social afternoon. Livesay reads "Call My People Home." 1.02 1965: Alan Crawley and Livesay discuss recent Canadian literature. 2.01 1966: Excerpts of conversation between Alan Crawley and Livesay. 2.02 1967: Alan Crawley on poetry in music, and in conversation with Livesay. 2.03 1968: 30 Nov. CBC program on Alan Crawley. 3.0l 1968: Donald Cameron interview with Livesay.

A30     Special Collections, Cameron Library, University of Alberta, Edmonton, Alberta

The 36 folders of poetry manuscripts and typescripts and two exercise books dating from the 1926-32 period have been indexed by library personnel on individual cards ordered chronologically. In most cases, publication information, including appearance in book, periodical, and anthology formats, has been indicated on the cards. The folders are housed in seven boxes.

Note: Photocopies have been exchanged between Queen's University and the University of Alberta, so that each repository has a copy of the other's holdings. (See A31.)

Box 1: Manuscript poetry notebook, "A Book of Rhymes, Rhythms, and Riots," 1926-27 (136 pp.). Volume Two: Oct. 1927-Dec. 1931 (240 pp.). Five folders containing correspondence with Ryerson Press, 1928-68.

Box 2: Seven folders containing poetry typescripts and originals, 1924-30.

Box 3: Eight folders containing poetry typescripts and originals, 1931-47.

Box 4: Ten folders containing poetry typescripts and originals, 1948-64.

Box 5: Four folders containing poetry typescripts and originals, 1965-68.

Box 6: Seven folders containing poetry typescripts and originals, 1969-74.

Box 7: Printer's copies (typescripts): Selected Poems, Signature (first version of Selected Poems), Day and Night, The Documentaries, and The Unquiet Bed.

A31     Douglas Library, Archives, Queen's University, Kingston, Ontario

The correspondence has been indexed by Queen's into 104 folders, most of which are identified by writer or publication. However, there is also a series of omnibus folders noted as "business" or "personal" correspondence. To provide a finer index, and to note a series of letters from one author -- which occasionally are found in four distinct files -- a multiple entry series of approximately 1,000 cards was created. A list of these cards is available from the library.

The papers have been kept in substantially the same files that they were in originally. Dating of letters and notations by the archivists are indicated by square brackets. The papers consist of 25 inches of correspondence files, broken into 4 series. Within the first 3 series the correspondence is arranged chronologically, and m the final series, chronologically by author. Series II contains general correspondence of a literary nature. Because of its bulk and close ties with the Alan Crawley papers, material related to Alan Crawley has been separated into Series III. Series III contains some original letters from Livesay to Crawley.

The papers are arranged as follows:

Series I: Business Correspondence, 1932-70. Section A: General

Section B: Publishing Body

Series II: General Personal Correspondence, 1927-70.

Series III: Material Related to Alan Crawley, 1938-70.

Series IV: Correspondence from Livesay to various authors and publishers, listed by author, 1933-70. Five boxes, approximately 1,320 letters, 50 correspondents.

A32     Special Collections, Simon Fraser University, Burnaby, British Columbia

The Special Collections department of the library holds 15 tapes:

Tape 1: Hoar, Victor. Personal interview with Livesay. Toronto, 24 May 1968.

Tape 2: Hoar, Victor. Personal interview with "Jim" Watts Lawson.

Tape 3: Livesay, Dorothy. Poetry Reading. Anthology, CBC Radio, 1 June 1967.

Tape 4: Livesay speaking on narrative tradition and the documentary poem, Univ. of Victoria, March 1972.

Tape 5: Livesay, Dorothy. "The Victoria Writer." CBC Radio, Feb. 1972.

Tape 6: Livesay speaking with Kildare Dobbs (c. 1973).

Tape 7: Livesay reading and discussing her work (late 1960s).

Tape 8: Tonga, Bemba, Nguma, Nyanga songs, with native introductions [c. 1962].].

Tape 9: Cockburn, Robert. Personal interview with Dorothy Livesay.

Tape 10: West Indian, black spirituals; Chalimbana Teachers College classes (c. 1962).

Tape 11: Archer, Violet. College of Music, University of Alberta. Responsible for setting Livesay's poems to music.

Tape 12: Canadian Poets on Tape. Toronto: Ontario Institute for Studies in Education, 1970. (30 min.)

Tape 13: Canadian Poets on Tape. Scarborough: Van Nostrand Reinhold, 1972.

Tape 14: Livesay, Dorothy. Poetry Reading. CHUM Radio [Toronto], 30 April 1967.

Tape 15: Livesay, Dorothy. Poetry Reading. CKUA Radio [Edmonton], n.d.

A33     Manuscript Collection, Humanities Research Center, University of Texas, Austin, Texas

The collection contains a letter from Dorothy Livesay to Edith Sitwell, 21 Feb. 1953; and a radio script with one correction by Sitwell (1953).

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Books; Mixed genre collection  

Ricketts, Alan (compiler)

A23     Right Hand Left Hand. Ed. David Arnason and Kim Todd. Erin, Ont.: Porcepic, 1977. 280 pp. Includes the following articles: "The Beer Workers," "Blairmore," "Canadian Poetry and the Spanish Civil War" (B411), "Corbin" (B464), "Decadence in Modern Bourgeois Poetry," "Fascism in Quebec," "Indians at Caughnawaugha," "Proletarianitis in Canada," "Raymond Knister: A Memoir," and "They Shall Inherit the Earth, a Review." Includes the following plays: "Struggle" and "The Times Were Different." Includes the following poems: "At English Bay: December, 1937" (B70), "Canada to the Soviet Union" (B53), "Catalonia" (B217), "Comrade" (A13), "Day and Night" (B54), "Depression Suite [i. If there are prayers...] [A13], [ii. I can be a vagabond...] [A13], [iii. I sit and hammer melodies...] [A13], [iv. You have no heart ...] [A13], [v. The boss was a friend of mind ...] [A13], [vi The man you knew in Galilee...]" (A13), "Dominion Day at Regina" (A13), "Doves" (A13), "from Seven Poems [iv: On a night like this ...] [A3], [vi: The child looks out ...]" (B78), "from West Coast: Finale" (B91), "Growing Up" (A7), "An Immigrant" (A13), "The Lizard: October, 1939" (A13), "Lorca" (B76), "New Jersey," "Old Trees at Pere la Chaise," "The Outrider" (B89), "Pink Ballad" (B50), "Rain in April," "Twenty Years After," and "Words before Battle" (A13). Includes the following stories: "Case Supervisor" (B339), "A Cup of Coffee" (B341), "Herbie," "Out West," "Six Years," "Two Women," and "Zynchuk's Funeral."

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Books; Poetry  

Ricketts, Alan (compiler)

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A1    Green Pitcher. Toronto: Macmillan, 1928. 16 pp. Includes "Autumn," "A Boy in Bronze," "Caution," "Chinese," "A Country Mouse in Town" (B13), "Defiance," "Emergence," "Enigmas," "Explanation," "Fire and Reason," "Fireweed" (B2), "The Forsaken," "Impuissance" (B11), "The Invincible," "The Lake," "Phantasy in May," "Reality," "Secret" (B16), "Shower" (B3), "Song from a Sequence," "Song of a Runner," "Such Silence" (B14), "Sympathy," "Widow-Woman," and "'Wraith."

A2    Signpost. Toronto: Macmillan, 1932. 61 pp. Includes "Alienation" (B30), "'Ask of the Winds,'" "Assertion," "Blindness," "Chained," "City Night," "City Wife" (B24), "Climax," "A Confidence," "Consideration," "Daedelus," "The Difference" (B41), "Dust," "Fable," "Farewell," "Going to Sleep," "Green Rain" (B40), " 'Haunted House' " (B44), "If Looking Were Saying," "Interrogation," "In the Street" (B31), "In the Wood" (B38), "The Intimates," "I Saw My Thought," "Journey" (B32), "Monition," "Neighbourhood," "Old Man," "Perversity, .... Prince Edward Island," "Protest," "Sea-Flowers" (B34), "September Mornrag," "Song for Departure" (B29), "A Song for Ophelia," "Song for Solomon" (B42), "Sonnet for Ontario," "Staccato" (B27), "Sun," "Testament" (B22), "Threshold," "Time" (B35), "The Unbeliever" (B43), "Vandal," "Weapons," and "Wildernesstone."

A3     Day and Night. Boston: Bruce Humphries, 1944. 48 pp.

     Toronto: Ryerson, 1944. 48 pp. Includes "Day and Night" (B54), "Fantasia," "Five Poems [1. In the dream was no kiss...] [B83], [ii. Your face is new...] [B83], [iii. Early I lifted the oars of day ...] [B83], [iv. Night's soft armour welds me into thought ...] [B83], [v. Your words beat out in space ...]" (B83), "Lorca" (B76), "The Outrider" (B89), "Prelude for Spring" (B82), "Serenade for Strings" (B84), "Seven Poems [i. A shell burst in my mind...], [ii. From the husk of the old world ...], [iii. Out of the turmoil mustered by day ...], [iv. On a night like this ...], [v. The fallow mind in winter ...] [B61], [vi. The child looks out ...] [B78], [vii. And life goes on. And here ...]" (B79), and "West Coast: Prelude [B91], The Outsider [B91], Shipyard Voices [B91], Finale" (B91).

A4     Poems for People. Toronto: Ryerson, 1947. 40 pp. Includes "Abracadabra" (B105), "Autumn in Wales" (B109), "Carnival" (B102), "Contact," "Evensong" (B106), "F D R" (B100), "Improvisation on an Old Theme," "Inheritance" (B96), "The Inheritors" (B104), "Letter from Canada" (B98), "London Revisited (1946)" (B108), "Lullaby" (B113), "Matins" (B114), "The Mother," "Of Mourners" (B94), "Okanagan Pictures" (B107), "Page One" (B111), "Pheasant," "Point Counterpoint" (B92), "Preludium" (B88), "Railway Station" (B99), "Small Fry" (B103), "Sonnets for a Soldier [You went, wordless; but I had not the will ...] [B90], [No hands to touch, whom distance separates ...]" (B90), and "V-J Day" (B112).

A5     Call My People Home. Ryerson Poetry Chapbooks, No. 143. Toronto: Ryerson, 1950. 24 pp. Includes "Call My People Home" (B122), "December," "Departure in November" (B129), "Indian Graveyard," "Interval with Fire" (B124), "'Invisible Sun'" (B125), "Marcia," "Tale" (B123), and "Variations on a Tree" (B120).

A6     New Poems. Ed. Jay Macpherson. Toronto: Emblem, 1955. 15 pp. Includes "After Hiroshima" (B139), "Bartok and the Geranium" (B133), "The Dark Runner," "Generanon," "Genii," "Nocturne" (B77), "On Seeing," "Other," "This Arrow," and "Winter Song" (B134).

A7     Selected Poems of Dorothy Livesay [1926-1956]. Introd. Desmond Pacey. Toronto: Ryerson, 1957. xxii, 82 pp. Includes "Abracadabra" (B105), "Alienation" (B30), "Annunciation" (B83), "At Sechelt," "Autumn" (A1), "Bartok and the Geranium" (B133), "Blindness" (A2), "Carnival" (B102), "Chant," "The Child Looks Out" (B78), "Climax" (A2), "Day and Night" (B54), "The Difference" (B41), "Epilogue," "Fantasia" (A3), "Fantasy in May" (A1), "Farewell" (A2), "Fire and Reason" (A1), "From the Husk," "Generation" (A6), "Genii" (A6), "Going to Sleep" (A2), "Green Ram" (B40), "Growing Up," "Hymn to Man" (B131), "Inheritance" (B96), "Interval with Fire" (B124), "In Time of War [I. You went, wordless; but I had not the will ...] [B90], [II. You knew the secret wood. Absorbed ...] [B90 and B98], [III. Confused, embedded, over-turbulent world ...] [B90 and B99], [IV. It seemed a poor thing to do, to wed, when the Japs ...]" (B90), "I Saw My Thought" (A2), "Lament" (B137), "London Revisited" (B108), "Lorca" (B76), "Nativity" (B84), "Nocturne" (B77), "Of Mourners" (B94), "Of Neighbours," "On Looking into Henry Moore" (B141), "On Seeing" (A6), "Other" (A6), "Out of the Turmoil," "Page One" (B111), "Perversity" (A2), "Prelude for Spring" (B82), "Protest" (A2), "Reality" (A1), "Sea-Flowers" (B34), "A Shell Burst" (A3), "Signature," "The Skin of Time," "Song," "Song for Solomon" (B42), "Song to Myself," "Sonnet for Ontario" (A2), "Such Silence" (B14), "Time" (B35), "The Traveller" (B 136), "Variations on a Tree" (B120), "Weapons" (A2), "Wedlock," "What Cloud," and "Winter" (B68).

A8     The Colour of God's Face. Vancouver: Unitarian Service Committee, 1964. N. pag. Includes "Funeral," "The Land," "The Leader," "The People," "The Prophetess" (B157), "Village" (B158), and "Wedding."

A9     The Unquiet Bed. Toronto: Ryerson, 1967. 65 pp. Includes "And Give Us Our Trespasses" (B166), "Ballad of Me" (B159), "A Book of Charms," "The Dream," "The Emperor's Circus" (B154), "Empress" (B180), "Eve" (B171), "Flower Music," "For Abe Klein: Poet" (B165), "For Gwendolyn," "Four Songs [i. People will say...], [ii. It is the fire you love ...], [iii. And yet you knew ...], [iv. I drink now...]," "The Incendiary," "Initiation," "Isolate," "A Letter," "Making the Poem" (B164), "Moving Out" (B174), "The Notations of Love," "Old Song," "Pear Tree," "Perceptions," "Poet and Critic," "Postscript" (B47), "Process," "The Rat" (B175), "Roots," "Second Coming," "Soccer Game" (B176), "Spring," "Sunfast" (B169), "The Taming," "To a Younger Poet" (B144), "The Touching," "The Unquiet Bed," "The Vigil," "Without Benefit of Tape" (B163), "Woman Waylaid" (B177), and "Zambia: Invitation, Village [B158], Wedding [A8], Funeral [A8], The Leader [A8], The Prophetess" (B157). The poem entitled "Zambia" is a revised version of A8.

A10     The Documentaries. Foreword Dorothy Livesay. Toronto: Ryerson, 1968. 1, 56 pp. Includes "Call My People Home" (B122), "Day and Night" (B54), "Ontario Story (An Old Woman Remembers)," "The Outrider" (B89), and "Roots (A9)."

A11     Plainsongs. Fredericton: Fiddlehead Poetry Books, 1969. 32 pp. Includes "Another Journey" (B189), "At Dawn," "Auguries," "Birdwatching," "The Cave" (B188), "Centennial People" (B181), "Con Sequences," "De-Evolution" (B192), "Dream," "Edmonton at Night," "The Journey East," "The Metal and the Flower'" (B184), "Objets Trouves," "The Operation" (B200), "Patterns," "Random Pictures" (B186), "The Sculptors" (B183), "The Sign," "Sorcery" (B241), "The Uninvited," "Waking in the Dark" (B185), and "The Woman" (B204).

     Fredericton: Fiddlehead Poetry Books, 1971. 48 pp. Includes "Another Journey" (B189), "April," "The Artefacts: West Country" (B215), "At Dawn," "Auguries," "Birdwatching," "Canadiana," "The Cave" (B188), "The Children's Letters," "Con Sequences," "De-Evolution" (B192), "Dream," "Easter Saturday," "The Eaters," "Edmonton Suite," "The Halloweens," "Heritage," "House amongst Trees," "Latter Day Eve" (B220), "Look to the End" (B221), "The Operation" (B200), "Rowan Red Rowan" (B210), "Seashelter," "The Snow Girl's Ballad," "Sorcery" (B241), "The Uninvited," "Waking in the Dark" (B185), "Weather Forecast" (B225), "Where I Usually Sit," and "The Woman" (B204).

A12     Disasters of the Sun. Blackfish Broadsides Folios, No. 3. Burnaby, B.C.: Blackfish, 1971. 8 leaves. Includes "Disasters of the Sun."

A13     Collected Poems: The Two Seasons. Foreword Dorothy Livesay. Toronto: McGraw-Hill Ryerson, 1972. ii, 368 pp. Includes "Abracadabra" (B105), "The Absences." (B1), "After Grief," "After Hiroshima" (B139), "Again the fever," "Alienation" (B30), "Amazement!", "And Even Now," "And Give Us Our Trespasses" (B166), "Another Journey" (B189), "April" (A11), "The Artefacts: West Coast" (B215), "'Ask of the Winds'" (A2), "Assertion" (A2), "At Dawn" (A11), "At English Bay: December, 1937" (B70), "At Sechelt" (A7), "Auguries" (A11), "August (i)," "August (ii)," "Autumn" (A1), "Autumn in Wales" (B109), "Autumn: 1939," "Ballad of Me" (B159), "A Ballet of Squares: 1. Trafalgar [B152], 2. November Eleven [B152], 3. Fitzroy [B152], 4. Guston Square: Quaker Meeting [B152], 5. Russell Square: Winter [B152], 6. Mothering Sunday" (B152), "Bartok and the Geranium" (B133), "Birdwatching" (A11), "Blindness" (A2), "Board Meeting: 1938," "A Book of Charms" (A9), "Call My People Home" (B122), "Canadiana" (A11), "Carnival" (B102), "Catalonia" (B217), "The Cave" (B188), "Caw," "Chained" (A2), "Chant" (A7), "Children's Camp," "The Children's Letters" (A11), "Chinese" (A1), "City Wife" (B24), "Climax" (A2), "Collage," "Comrade," "Con Sequences" (A11), "Consideration" (A2), "A Conversation," "Daedulus" (A2), "The Dark Runner" (A6), "Dark ways we led each other," "Day and Night" (B54), "Deep Cove: Vancouver" (B59), "De-Evolution" (B192), "Defiance" (A1), "Depression Suite [i. If there are prayers ...], [ii. I can be a vagabond...], [iii. I sit and hammer melodies ...], [iv. You have no heart ...J, [v. The boss was a friend of mine...], [vi. The man you knew in Galilee ...], [vii. Even although the skimpy relief investigator...]," "The Difference" (B41), "Disasters of the Sun" (A12), "The Dismembered Poem" (B153), "Dominion Day at Regina," "The Door," "Doves dive up and down," "Dream" (A11), "A Dream," "The Dream" (A9), "Dust" (A2), "Easter" (B110), "Easter Saturday" (A11), "The Eaters" (A11), "The Emperor's Circus" (B154), "Empress" (B180), "Enigmas" (A1), "Epithalamium for Susan" (B132), "Eve" (B171), "Experience," "Explanation" (A1), "Fable" (A2), "Fantasia" (A3), "Fantasy in May" (A1), "Farewell" (A2), "Ferry Trip" (B115), "Fire and Reason" (A1), "Fireweed" (B2), "Five Poems [i. In the dream was no kiss ...] [B83], [ii. Your face is new ...] [B83], [iii. Early I lifted the oars of day ...] [B83], [iv. Night's soft armour welds me into thought ...] [B83], [v. Your words beat out in space ...]" (B83), "Flower Music" (A9), "For Abe Klein: Poet" (B165), "The Forsaken" (A1), "Four Songs [i. People will say...] [A9], [ii. It is the fire you love...] [A9], [iii. And yet you knew ...] [A9], [iv. I drink now ...]" (A9), "Generation: 1955" (A6), "Genii" (A6), "Godmother" (B85), "Going to Sleep" (A2), "The Great Divide," "Green Rain" (B40), "Growth" (B8), "The Gulls" (B33), "The Halloweens" (A11), "'Haunted House'" (B44), "Heritage" (A11), "Hermit," "Hola! the moon," "Houdini Eliot," "House amongst Trees" (A11), "The Husband," "Hymn to Man" (B131), "I Am Merry," "If I Awake," "If It Were Easy" (B36), "An Immigrant," "Improvisation on an Old Theme" (A4), "Impuissance" (B11), "The Incendiary" (A9), "Indian Summer," "I Never Hear," "I never knew much about silence," "In Green Solariums" (B51), "Inheritance" (B96), "Initiation" (A9), "Interrogation" (A2), "Interval with Fire" (B124), "In the Street" (B31), "In the Wood" (B38), "The Intimates" (A2), "In Time of War [1. You went, wordless; but I had not the will ...] [B90], [2. You knew the secret wood. Absorbed ...] [B90 and B98], [3. Confused, embedded, over-turbulent world ...] [B90 and B99], [4. It seemed a poor thing to do, to wed, when the Japanese ...]" (B90), "The Invincible" (A1), "Invisible Sun" (B125), "I Saw My Thought" (A2), "Isolate" (A9), "I Think I Have Not Learned," "It's true, philosophies," "Journey" (B32), "The Journey East" (A11), "The Lake" (A1), "Lament" (B137), "Latter Day Eve" (B220), "Let not our love grow mildewed," "A Letter" (A9), "Letter at Midnight" (B86), "The Lizard: October, 1939," "London Revisited: 1946" (B108), "Look to the End" (B221), "Lorca" (B76), "Love has come back now like a cloud," "Lullaby" (B113), "Making the Poem" (B164), "'Meet me at noon,'" "Moments," "Monition" (A2), "Montreal: 1933," "The Morning After," "The Mother" (A4), "Moving Out" (B174), "Neighbourhood" (A2), "The Net," "Nocturne" (B77), "Northern Loon," "The Notations of Love" (A9), "Now, I Am Free," "Of Mourners" (B94), "Of Neighbours" (A7), "Old Man" (A2), "Old Man Dozing," "Old Song" (A9), "Omens," "On Looking into Henry Moore" (B141), "On Seeing" (A6), "The Operation" (B200), "Other" (A6), "The Outrider" (B89), "Page One" (B111), "Pear Tree" (A9), "Perceptions" (A9), "Personalities," "Perversity" (A2), "Picasso, Sketching," "Pictures at an Exhibition ('United Nations')," "The Pied Piper of Edmonton," "Pioneer" (B23), "Poet and Critic" (A9), "Postscript" (B47), "Praise and Lament," "Prelude for Spring" (B82), "Preludium" (B88), "Prince Edward Island" (A2), "The Prisoner," "Process" (A9), " 'Queen City' " (B55), "The Rat" (B175), "Reality" (A1), "The Ring," "Roots" (A9), "Rowan Red Rowan" (B210), "Sea-Flowers" (B34), "Seasheher" (A11), "Second Coming" (A9), "The Second Language (Suite): Zambian Wedding, Before Independence (Zambia) [B160], Politics, The Second Language" (B213), "Secret" (B16), "September Morning" (A2), "Serenade for Strings" (B84), "Seven Poems [i. A shell burst in my mind • ..] [A3], [ii. From the husk of the old world ...] [A3], [iii. Out of the turmoil mustered by day...] [A3], [iv. On a night like this ...] [A3], [v. The fallow mind in winter ...] [B61], [vi. The child looks out...] [B78], [vii. And life goes on. And here ...]" (B79), "Shape Me to Your Will," "Shower" (B3), "The Shrouding," "Signature" (A7), "Signpost," "The Skin of Time" (A7), "Small Fry" (B103), "The Snow Girl's Ballad" (A11), "Soccer Game" (B176), "Song for Departure" (B29), "Song for Solomon" (B42), "Song from The Multitude," "Sonnet for Ontario" (Aa), "Sorcery" (B241), "Spain" (B66), "Speak through Me," "Spring" (A9), "Staccato" (B27), "Such Silence" (B14), "Sun" (A2), "Sunfast" (B169), "Symbols," "Tale" (B123), "The Taming" (A9), "Testament" (B22), "These Things Are Patient out of Time," "This Arrow" (A6), "This day takes hold of me," "This Wisdom," "The Three Emily's" (B135), "Threshold" (A2), "Time" (B35), "The Touching" (A9), "The Traveller" (B136), "The Unbeliever" (B43), "The Uninvited" (A11), "The Unquiet Bed" (A9), "Vandal" (A2), "Variations on a Tree" (B120), "The Vigil" (A9), "The Voyage Out" (B156), "Waking in the Dark" (B185), "Weapons" (A2), "Weather Forecast" (B225), "Wedlock" (A7), "West Coast: 1943. Prelude [B91], The Outsider [B91], Shipyard Voices [B91], Finale" (B91), "Where I Usually Sit" (A11), "White Fingers," "Widow," "Widow-Woman" (A1), "Wilderness Stone" (A2), "Wine from Cyprus," "Winter Song" (B134), "Without Benefit of Tape" (B163), "The Woman" (B204), "Woman Waylaid" (B177), "Words before Battle," "Wraith" (A1), "Your Honesty," and "Zambia: Invitation [A9], Village [B158], Wedding [A8], Funeral [A8], The Leader [A8], The Prophetess" (B157). The poem entitled "Zambia" is a revised version of A8.

A14     Nine Poems of Farewell 1972-1973. Windsor: Black Moss, 1973. 16 pp. Includes "Aging" (B246), "Cassandra," "A Catechism," "Down Beat," "Grandmother" (B247), "The Magnet," "March 26 (for Jean Crawley)" (B231), "The Old Bawd," and "The Prisoner of Time (for an Old Man)."

A15     Ice Age. Erin, Ont.: Porcepic, 1975. 75 pp. Includes "Aging" (B246), "Blue Wind," "Breadline," "Breathing" (B242), "The Cabbage," "Canadian Saga," "Cassandra" (A14), "A Catechism" (A14), "Cloud Messages," "The Descent" (B234), "Evensong" (B106), "Five Months Young," "For Rent," "For the New Year" (B258), "Gathering Oysters," "Grandmother" (B247), "The Gun," "The High," "Ice Age," "Identities," "Interiors" (B255), "Last Letter" (B260), "Legends" (B252), "Madame Curie," "Manifesto" (B259), "Mathematics" (B244), "'Morning Rituals'" (B248), "News from Nootka" (B250), "Of Chains," "The Old Bawd" (A14), "Old Woman in the K Mart," "One Way Conversation," "The Other Side of the Wall," "Parenthood," "Perspectives," "Remembering Red Lane (died 1964)" (B235), "Return to a Birthplace" (B197), "Salute to Monty Python," "Schizoid" (B238), "The Stoned Woman" (B236), "Summer Landscape: Jasper" (B237), "Surfaces," "The Survivor" (B254), "Thumbing a Ride" (B253), "Time and Mrs. Macnair" (B233), "To Be Blind" (B232), "Unexpected Guests," "Unitas" (B261), "The Unquiet Dead (Aurora borealis)," "Walking in the Park," "Whitepiece," "Why We Are Here" (B245), "Widow" (B257), "Windows," and "Winter Ascendant" (A20).

A16     The Woman I Am: Best Loved Poems from One of Canada's Best Loved Poets. Erin, Ont.: Porcepic, 1977. 96 pp. Includes "Abracadabra" (B105), "After Grief" (A13), "Aging" (B246), "Les Anglais: Coming Out of Quebec (1974)," "Ballad of Me" (B159), "Ballad of the Battered Children," "Bartok and the Geranium" (B133), "Blue Wind" (A15), "Book Review," "Breathing" (B242), "Cabbage" (A15), "A Certain Dark," "Circumstantial Evidence," "Climax" (A2), "Collared" (A19), "Comrade" (A13), "Conversation Macabre," "The Descent" (B234), "The Difference" (B41), "Disasters of the Sun" (A12), "Dream" (A11), "Easter" (B110), "Epithalamium for Susan" (B132), "Eve" (B171), "Five Poems for Alan Crawley (1887-1975): Nocturne [B77], To Be Blind [B232], March 26 [B231], The Prisoner of Time, Every Woman You Loved" (B263), "For Rent" (A15), "For the New Year" (B258), "Grandmother" (B247), "Green Rain" (B40), "The High" (A15), "Ice Age" (A15), "Interiors" (B255), "Interrogation" (A2), "In Time of War [4. It seemed a poor thing to do, to wed, when the Japanese...]" (B90), "Lament" (B137), "Latter Day Eve" (B220), "Life Styles," "Look to the End" (B221), "Mathematics" (B244), "Morning Rituals" (B248), "The Mother" (A4), "News from Nootka" (B250), "One Way Conversation" (A15), "On Looking into Henry Moore" (B141), "Other" (A6), "Parenthood" (A15), "Postscript" (B47), "Reservations," "Return to a Birthplace" (B197), "Serenade for Strings" (B84), "The Snow Girl's Ballad" (A11), "Still Life," "The Takeover," "The Taming" (A9), "The Three Emily's" (B135), "Thumbing a Ride" (B253), "Time" (B35), "The Touching" (A9), "Town Topics," "The Uninvited" (A11), "Unitas" (B261), "The Unquiet Bed" (A9), "Variations on a Tree" (B120), "Who Are the Exiles," "Why We Are Here" (B245), "Widow" (B257), "Windows" (A15), and "Woman Waylaid" (B177).

A17     The Raw Edges: Voices from Our Time. Winnipeg: Turnstone, 1981. 31 pp.

A17a The Phases of Love. Toronto: Coach House, 1983. 112 pp. Includes I Adolescence: "Analysis," "Cinquain," "Confession," "In arresting love," "Inarticulate," "Interim," "The Lover," "Primitive," "Something is coming to be born,'" "A Tale," "Unwritten Letter," and "'Your cry -- was it your cry?'"; II Fire and Frost: "'All in a minute we,'" "Anaesthesia," "Aubade," "'Because we want each other,'" "'Do not interfere!'," "'The hard core of love,'" "'How did it happen,'" "I bless you most because," "I loved your mind," "I see you trying on an idea," "I sought to cut you from me -- ," "'I touched,'" "In my dream room," "In the still centre of this painting," "Let your hand play first," "Locked in your house," "Malaria, long sleeping in the blood," "The Male Muse," "'Mistakenly,'" "Now it is done" "Only before dawn," "The Quarrel," "The record of all our nights," "The Search for Wholes," "The severance, being willed," "Sorcery," "The Step Beyond," "Thinking you might phone," "This page my book," "Though you are a scarecrow," "'Twice, twice I let you go,'" "You are my mirror I," "You, who do not pick up your past,'" and "'When I got home'"; III Voices of Women: "Apocalypse," "Arbutus," "As We Grow Older" (B282), "Bus Trip" (B283), "Dawnings" (B308), "Friday's Child" (B305), from "The Enchanted Isle" (B279), "The House of Winter," "In Therapy: a Dialogue," "In Times Like These" (B285), "The Legacy," "Look, We Have Come Through!", "Mon Semblable, Mon Frere," "Mothering," "My Mother," "Nothing is Private" (B288), "On Seeing 'The Day of the Dolphin' " (B295), "The Origin of the Family," "Reversals" (B289), "The Secret Doctrine of Women," "SelfPortrait: The Androgyne" (B290), "The Sybi1," "Teachers" (B303), "The Tears of Women" (B291), and "The Twins."

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Books; Short stories  

Ricketts, Alan (compiler)

A22     A Winnipeg Childhood. Winnipeg: Peguis, 1973. 105 pp. Beginnings: A Winnipeg Childhood. Toronto: new, 1975. 105 pp. Includes "Anna" (B351), "Christmas," "The End of the War," "Father's Boy," "First Trials," "The Guardian Angel," "Matt" (B347), "Mrs. Spy," "The Other Side of the Street" (B352), "The Party," "Preludes" (B348), "The Sparrows" (B349), "The Two Willies" (B350), "The Uprooting," and "A Week in the Country."

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Journalism  

Ricketts, Alan (compiler)

B461     "The Tenth Province: Cape Breton the Home of a Quaint and Distinctive Community." Saturday Night, 5 Nov. 1927, p. 5.

B462     "Modern and Medieval Seen in Arromanches-LesBarns." The Star Weekly [Toronto Daily Star], 9 Nov. 1929, p. 9.

B463     "French Women Consider Convenience Not Fashion." Toronto Daily Star, 16 Nov. 1929, p. 24.

B464     "Corbin -- A Company Town Fights for Its Life." New Frontier, 1, No. 3 (June 1936), 6-8. RHLH ("Corbin").

B465     "12 Hours by Air'-Slogan: Feels Lucky to Do It in 40." Toronto Daily Star, 20 Sept. 1946, p. 8.

B466     "Canned Meat, Fowl Soup Ideal Gifts for Britons." Toronto Daily Star, 27 Sept. 1946, p. 7.

B467     "A Housing Racket in Britain Is Exposed By Squatters." Toronto Daily Star, 28 Sept. 1946, pp. 1-2.

B468     "Londoners Queue 6 Abreast for Peep into New World." Toronto Daily Star, 30 Sept. 1946, p. 4.

B469     "Bombed Out, Many Britons' Have Real Home at Last.'" Toronto Daily Star, 5 Oct. 1946, p. 26.

B470     "U.K. Leisure-Time Activities Take on New Importance." Toronto Daily Star, 7 Oct. 1946, p. 5.

B471     "Sure Britain's 'New Towns' to End Class Distinctions." Toronto Daily Star, 9 Oct. 1946, p. 5.

B472     "Can't Have Babies Live as We Do -- U.K. Woman." Toronto Daily Star, 12 Oct. 1946, p. 19.

B473     "Englishman Stays Put, U.K. Brings Industries to Him." Toronto Daily Star, 16 Oct. 1946, p. 35.

B474     "Lacking Milk for Cereals Britons Eating Much Jam." Toronto Daily Star, 17 Oct. 1946, p. 4.

B475     "Labor Party Women Meet, Rap Bevin and Strachey." Toronto Daily Star, 19 Oct. 1946, p. 5.

B476     "'Horror Workhouse' Report Shocks U.K. Child Workers." Toronto Daily Star, 22 Oct. 1946, p. 11.

B477     "Coventry Plan for Future Envisages Big Model City." Toronto Daily Star, 25 Oct. 1946, p. 13.

B478     "Save on Bread to Get Corned Beef for Yule." Toronto Daily Star, 26 Oct. 1946, p. 19.

B479     "Not the Same Churchill: Not Much Fire, Little to Say." Toronto Daily Star, 28 Oct. 1946, p. 9.

B480     "'How Brown Is My Valley,' Wales Needs New Spring." Toronto Daily Star, 29 Oct. 1946, p. 3.

B481     "Pupils Unharmed by Blitz, Canadian Teachers Learn." Toronto Dally Star, 29 Oct. 1946, p. 5.

B482     "Toronto-Aided, Birmingham Day-Nurseries Thriving." Toronto Daily Star, 30 Oct. 1946, p. 30.

B483     "Birmingham Housing Plan to Wipe Out City's Slums." Toronto Daily Star, 31 Oct. 1946, p. 13.

B484     "London's Women Weary, Can See It m Every Face." Toronto Daily Star, 4 Nov. 1946, p. 3.

B485     "'Bring Back Beefsteak' May Swing French Vote." Toronto Daily Star, 9 Nov. 1946, pp. 1, 4.

B486     "French People Happy? No 'They Don't Give a Hoot.'" Toronto Daily Star, ix Nov. 1946, p. 13.

B487     "'Last Time I Saw Paris' Oh How Different Now." Toronto Daily Star, 13 Nov. 1946, p. 15.

B488     "Living on British Food, Germans Don't Know It." Toronto Daily Star, 16 Nov. 1946, p. 13.

B489     "Finds Many Germans Feel Atlantic Charter Broken." Toronto Daily Star, 17 Nov. 1946, p. 12.

B490     "France Again Ready to Contribute to the Arts." Toronto Daily Star, 18 Nov. 1946, p. 6.

B491     "No Chaos Like Chaos in Hopeless Germany." Toronto Daily Star, 18 Nov. 1946, p. 21

B492     "100,000 Essen Coal Miners Live in Heatless Cellars." Toronto Daily Star, 19 Nov. 1946, p. 7.

B493     "France Is Gay on Surface to Cover Blow Underneath." Toronto Daily Star, 20 Nov. 1946, p. 5.

B494     "Canadians 'Best Prepared' of All 44 Lands to Help." Toronto Daily Star, 21 Nov. 1946, p. 8.

B495     "Yugoslav Sees UNESCO Aim to Spread West's Ideology." Toronto Daily Star, 22 Nov. 1946, p. 4.

B496     "Canadian Students in Paris Find Food Poor, Rents High." Toronto Daily Star, 23 Nov. 1946, p. 36.

B497     "Germans Busy Foraging to Supplement Rations." Toronto Daily Star, 25 Nov. 1946, p. 6.

B498     "Finds Many Germans Feel Atlantic Charter Broken." Toronto Daily Star, 26 Nov. 1946, p. 5.

B499     "Cologne, City of War Ruin, Made Worse by Big Fire." Toronto Daily Star, 27 Nov. 1946, p. 10.

B500     "Air of Cruelty and Death Still Hangs over Germany." Toronto Daily Star, 28 Nov. 1946, p. 5.

B501     "Flaming Youth Is Unknown in Historic Old Provence." Toronto Daily Star, Dec. 1946, p. 9.

B502     "End of Meat Ration Here Seen Blow to Hungry U.K." Toronto Daily Star, 2 Dec. 1946, p. 4.

B503     "Every Municipality Will Benefit -- Victoria." Toronto Daily Star, 17 Dec. 1946, p. 3.

B504     "B.C. Asks Justice Ere 30 P.C. Rail Rate Rise." Toronto Daily Star, 18 Dec. 1946, p. 23.

B505     "English Rationing Pays Dividends in Bonnier and Taller Children." Saturday Night, 21 Dec. 1946, pp. 22-23.

B506     "Must Be No Two Classes of Citizens -- B.C. Group." Toronto Daily Star, 28 Jan. 1947, p. 19.

B507     "Ontario 'Pie in the Sky' Deluging Us, B.C. Says." Toronto Daily Star, 29 Jan. 1947, p. 17.

B508     "Snug Home among Pines for Veterans with Kiddies." Toronto Daily Star, 30 Jan. 1947, p. 17.

B509     "Canada's Japanese Problem." The Star Weekly [Toronto Daily Star], 29 March 1947, p. 4.

B510     "Taro Conquers the Cariboo." The Star Weekly [Toronto Daily Star], 19 April 1947, pp. 4, 12.

B511     "Writers Have Big Part in Making New World." Saturday Night, 26 April 1947, p. 17.

B512     "Ruhr Dismemberment Menace to World Peace." Saturday Night, 10 May 1947, p. 2.

B513     "Whither the 'Please Go Easy'?". The Star Weekly [Toronto Daily Star], 10 May 1947, p. 5.

B514     "Un chemin de fer qul ne conduit nulle part." La Patrie, 22 juin 1947, pp. 22, 24.

B515     "Smoke across the Border." The Star Weekly [Toronto Daily Star], 28 June 1947, p. 4.

B516     "Canada's East Indians." The Star Weekly [Toronto Daily Star], 12 July 1947, Sec. Second, pp. 7, 13.

B517     "Canada's Partly Opened Door." The Star Weekly [Toronto Daily Star], 2 Aug. 1947, p. 3.

B518     "Women Doing Pioneer Jobs in Peace River Northwest." Toronto Daily Star, 13 Aug. 1947, p. 35.

B519     "Rich Coal Beds Discovered Is Great Hope of 'The Hope.'" Toronto Daily Star, 15 Aug. 1947, p. 5.

B520     "Sees Shacks Vanishing, Boom in Store for Dawson Creek." Toronto Daily Star, 19 Aug. 1947, p. 4.

B521     "Air Taxis Banishing Woes of Nurses Trapped in Snow." Toronto Daily Star, 20 Aug. 1947, p. 19.

B522     "The Peace, It's Wonderful." The Star Weekly [Toronto Daily Star], 22 Nov. 1947, pp. 5, 11.

B523     "Frontier City -- New Style." The Star Weekly [Toronto Daily Star], 13 Dec. 1947, Sec. Second, p. 2.

B524     "Wealth from Forest Waste." The Star Weekly [Toronto Daily Star], 1948, Sec. Second, p. 4.

B525     "Who Will Develop the West?". The Star Weekly [Toronto Daily Star], 3 Jan. 1948, Sec. Second, p. 3.

B526     "Strange B.C. Serpent May Be Tropical Relic." The Star Weekly [Toronto Daily Star], 10 Jan. 1948, Sec. Second, p. 2.

B527     "Vancouver: Sleeping Giant." The Star Weekly [Toronto Daily Star], 31 Jan. 1948, p. 4.

B528     "Back to Sanity through Shock." The Star Weekly [Toronto Daily Star], 6 Mar. 1948, Sec. Second, p. 3.

B529     and Dorothy MacDonald. "Why B.C. Divorces Soar." The Star Weekly [Toronto Daily Star], 15 May 1948, p. 10.

B530     and Dorothy MacDonald. "Making Old Age Worth Living." The Star Weekly [Toronto Daily Star], 10 July 1948, p. 4.

B531     and Dorothy MacDonald. "Not to Punish, but to Change." The Star Weekly [Toronto Daily Star], 7 Aug. 1948, p. 8.

B532     "A Better Break for the Indian." The Star Weekly [Toronto Daily Star], 2 Oct. 1948, p. 2.

B533     "A Community Reborn." The Star Weekly [Toronto Daily Star], 5 March 1949, Sec. Second, p. 4.

B534     "Will B.C. Let Bygones Be Bygones for the Japanese Canadian?". The Star Weekly [Toronto Daily Star], 19 March 1949, Sec. Second, p. 14.

B535     "If Canada Becomes Abloom, Thank the Dutch." The Star Weekly [Toronto Daily Star], 26 March 1949, Sec. Second, p. 14.

B536     "Women in Public Life -- Do We Want Them?". Saturday Night, 19 July 1949, p. 17.

B537     "She Puts Human Skulls Together." The Star Weekly [Toronto Daily Star], 3 Sept. 1949, Sec. Second, p. 7.

B538     "Children from Many Lands Study to Become Canadian." The Vancouver Sun, 27 June 1953, p. 20.

B539     "Copperbelt: A Letter from Northern Rhodesia." The Canadian Forum, Feb. 1961, pp. 247-48.

B540     "Race Relations in Northern Rhodesia." The Canadian Forum, Oct. 1964, pp. 159-61.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Letters  

Ricketts, Alan (compiler)

B541     "An Open Letter to Sir Charles G.D. Roberts." Canadian Bookman, April-May 1939, p. 35.

B542     "Letter from London." The Canadian Forum, Dec. 1958, pp. 138-39.

B543     "Letter from London." The Canadian Forum, Feb. 1959, pp. 244-45.

B544     "Letter from London." The Canadian Forum, March 1959, pp. 268-69.

B545     "An Open Letter to Marsha Barber." Room of One's Own, 5, Nos. 1-2 (1979), 35-36.

B546     "Open Letter to Margaret Atwood." Galiano: n.p., 24 Nov. 1981, n. pag. [1 p.].

B547     Letter. The Globe and Mail, 28 Nov. 1981, p. 7.

B548     Letter. Writers News Manitoba, 3, No. 5 (Dec. 1981), n. pag.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Reviews  

Ricketts, Alan (compiler)

B433     Rev. of The King's Wish, by T.G. Marquis. Canadian Bookman, Sept. 1924, p. 199.

B434     Rev. of Canadian Short Stones, ed. Raymond Knister. St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 44 (Christmas 1928), 30.

B435     Rev. of Devil Take the Hindmost, by Edmund Wilson. Masses, 1, No. 6 (Nov. 1932), n. pag. Signed: "D. L."

B436     Rev. of Ann Vickers, by Sinclair Lewis. Masses, 1, No. 8 (March-April 1933), n. pag.

B437     Rev. of When Sirens Blow, by R. Spier; and We Gather Strength, by Joseph Kalar, Edwin Rolfe, and S. Funaroff. Masses, 2, No. 12. (March-April 1934), 15-16.

B438     Rev. of Noah and the Waters, by C. Day Lewis. New Frontier, 2., No. I (May 1937), 27-28.

B439     "Recent Ryerson Chapbooks." Rev. of Hearing a Far Call, by M. Eugenie Perry; For This Freedom Too, by Mary Elizabeth Colman; Birds before Dawn, by Evelyn Eaton; and Salt Marsh, by Anne Marriott. Contemporary Verse, No. 8 (June 1943), pp. 13-14.

B440     Rev. of News of the Phoenix, by A.J.M. Smith. First Statement, 2., No. 6 (April 1944), 18-19.

B441     Rev. of Flight into Darkness, by Ralph Gustafson. Contemporary Verse, No. 14 (July 1945), p. 15.

B442     Rev. of The White Centre, by Patrick Anderson. Contemporary Verse, No. 20 (Spring 1947), pp. 15-17.

B443     Rev. of The Ill-Tempered Lover, by L. A. MacKay. Contemporary Verse, No. 24 (Spring 1948), pp. 212-2.

B444     Rev. of Of Time and the River, by James Wreford. Contemporary Verse, No. 34 (Spring 1951), pp. 21-24.

B445     Rev. of Indian Time [a periodical]. Northern Review, 4 (April-May 1951), 35-37.

B446     Rev. of Mazo de la Roche, by Robert Hambleton. The Globe and Mail, 3 Dec. 1966, p. 34.

B447     Rev. of Leaves of Winter, by J. Smith; and Symbolist Verse, by T. Malcolm. The Fiddlehead, No. 72. (Winter 1967), pp. 112-14.

B448     "Poets and Audiences." Rev. of The House, by Michael Collie; No Casual Trespass, by Padraig O Broin; and The Danish Portraits, by Heather Spears. Canadian Literature, No. 34 (Autumn 1967), pp. 84-86.

B449     "An Odd Poet Out." Rev. of As Is, by Raymond Souster. Canadian Literature, No. 36 (Spring 1968), pp. 81-82.

B450     Rev. of Phrases from Orpheus, by D.G. Jones. Quarry, 17, No. 4 (Summer 1968), 41-42.

B451     Rev. of The Owl behind the Door, by Stanley Cooperman; and Heaven Take My Hand, by David Weisstub. Quarry, 18, No. 3 (Spring 1969), 54-56.

B452     Rev. of The Collected Poems of Red Lane, by Red Lane. Far Point, No. 2 (Spring-Summer 1969), pp. 51-57.

B453     Rev. of Mind's I, by Jack Shadbolt. Canadian Literature, No. 60 (Spring 1974), pp. 114-16.

B454     "Two in One." Rev. of Jeremy's Dream, by Jams Rapaport; and The Fat Executioner, by Myra MacFarlane. CV/II, 1, No. 2 (Fall 1975), 37.

B455     "Transmigrations." Rev. of Unborn Things, by Patrick Lane. CV/II, 2, No. 1 (Jan. 1976), 6-7.

B456     "The Poet Who Came In from the Cold." Rev. of Indian Summer, by R. G. Everson. CV/II, 2, No. 4 (Dec. 1976), 17.

B457     "Gazing into the Clouds of Whimsy." Rev. of The Price of Gold, by Miriam Waddington. CV/II, 3, No. 1 (Spring 1977), 15.

B458     "Tip of an Iceberg." Rev. of New Provinces: Poems of Several Authors, ed. F. R. Scott, A. J. M. Smith, et al., rev. ed., introd. Michael Gnarowski. Essays on Canadian Writing, Nos. 7-8 (Fall 1977), pp. 145-50.

B459     Rev. of The Ordinary Invisible Woman, by Gwen Hauser. CV/II, 5, No. 1 (Winter 1979), 31.

B460     Rev. of Aurora: New Canadian Writing, ed. Morris Wolfe. West Coast Review, 14 (April 1980), 6.

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Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Articles  

Ricketts, Alan (compiler)

B361     "Katherine Mansfield." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 43 (Easter 1918), 21.

B362     "The Poetry of E.J. Pratt." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 43 (Easter 1918), 22.

B363     "Literature and the T.T.C." Privateer, 4 Oct. 1929, p. 29. Signed: "D. K. L."

B364     "Impressions." Privateer, 11 Oct. 1929, p. 5.

B365     "John Brown's Body and the Canadian Civil War." Privateer, 18 Oct. 1929, pp. 11-12.

B366     "Student Life Abroad." Privateer, 1 Nov. 1929, pp. 9-10.

B367     "The Dusty Answer: A Handbill for Housekeepers." Privateer, 8 Nov. 1929, p. 13.

B368     "From a Norman Window." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], Christmas 1929, p. 14.

B369     "Anglo-French Quarterly." Saturday Night, 22 March 1930, p. 10.

B370     "Art Exhibition at the C.N.E." Masses, 1, No. 6 (Nov. 1932), n. pag.

B371     "The Guild of All Arts." Masses, 1, No. 6 (Nov. 1932), n. pag.

B372     "Brief History of Canadian Art." Masses, 1, No. 9 (May-June 1933), 8-9. Written with "C. R. P." Dorothy Livesay does not remember the identity of this winter.

B373     "Poet's Progress." New Frontier, 2, No. 3 (July-Aug. 1937), 23-24.

B374     "This Canadian Poetry." The Canadian Forum, April 1944, pp. 20-21.

B375     "Summary." The Canadian Forum, July 1944, p. 89.

B376      "China's Co-Operatives." The Canadian Forum, Nov. 1947, pp. 179-80.

B377     "Raymond Knister: A Memoir." In Collected Poems of Raymond Knister. By Raymond Knister. Ed. Dorothy Livesay. Toronto: Ryerson, 1949, pp. Xl-xli.

B378     "The Poetry of Anne Marriott." Educational Record [Quebec], 65, No. 2 (April-June 1949), 87-90.

B379     "Poetry at His Fingertips: Sightless Alan Crawley of West Vancouver Edits Unique Poetry Anthology." The Vancouver Sun, 12 Jan. 1952, p. 17.

B380     "Ethel Wilson: West Coast Novelist." Saturday Night, 26 July 1952, pp. 20, 36.

B381     "Group C: Summary by Dorothy Livesay." Canadian Writers' Conference: The Writer and the Public, Queen's Univ., Kingston, Ont. 30-31 July 1955. Printed in Writing in Canada: Proceedings of the Canadian Writers' Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Introd. F. R. Scott. Toronto: Macmillan, 1956, pp. 132-35.

B382     "London Notes." The Canadian Forum, Nov. 1958, pp. 171-72.

B383     "The Making of Jalna: A Reminiscence." Canadian Literature, No. 23 (Winter 1965), pp. 25-30.

B384     "The Polished Lens: Poetic Techniques of Pratt and Klein." Canadian Literature, No. 25 (Summer 1965), pp. 33-42.

B385     "Mazo de la Roche: 1879-1961." In The Clear Spirit. Twenty Canadian Women and Their Times. Ed. Mary Quayle Innes. Toronto: Canadian Federation of University Women/Univ. of Toronto Press, 1966, pp. 242-59.

B386     "The Sculpture of Poetry: On Louis Dudek." Canadian Literature, No. 30 (Summer 1966), pp. 26-35.

B387     "Aspects of Symbolism." Modern Quarterly, 17 (Jan. 1967), 114-16.

B388     "Mazo Explored." Canadian Literature, No. 32 (Spring 1967), pp. 57-59.

B389     "Fred and the Fiddlehead." The Atlantic Advocate, May 1967, pp. 16-28.

B390     "Livesayana." Canadian Author & Bookman, 43, No. 1 (Autumn 1967), 1, 10-11.

B391     "A Creative Climate for English Teaching." English Quarterly, 1, No. 1 (June 1968), 31-38.

B392     "Search for a Style: The Poetry of Milton Acorn." Canadian Literature, No. 40 (Spring 1969), pp. 33-42.

B393     "The Documentary Poem: A Canadian Genre." Association of Canadian University Teachers of English, Learned Societies, York Univ., Downsview, Ont. 12 June 1969. Printed in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971. Rev. ed. Toronto: Univ. of Toronto Press, 1977, pp. 167-81.

B394     "Song and Dance." Canadian Literature, No. 41 (Summer 1969), pp. 40-48.

B395     "Edmonton Writers Need Exposure in 'Little' Magazines." The Gateway [Univ. of Alberta], 14 Nov. 1969, p. c7.

B396     "Frenzies, Lemans, Concretemen." The Canadian Forum, Jan. 1970, p. 130.

B397     "Poets in Conclave." Canadian Literature, No. 47 (Winter 1970), pp. 73-74.

B398     "A Prairie Sampler." Mosaic, 3, No. 3 (Spring 1970), 85-91.

B399     "Early Days." The Canadian Forum, April-May 1970, pp. 34-36.

B400     "The Native People in Our Canadian Literature." English Quarterly, 4, No. 1 (Spring 1971), 21-32.

B401     "The Hunters Twain." Canadian Literature, No. 55 (Winter 1973), pp. 75-98.

B402     "Getting It Straight." Impulse, 2, Nos. 3-4 -Porcepic, 1, No. 2 (May 1973), 29-35.

B403     "Tennyson's Daughter or Wilderness Child? The Factual and Literary Background of Isabella Valancy Crawford." Journal of Canadian Fiction, 2, No. 3 (Summer 1973), 161-67.

B404     "A Writer in the Depression." In Essays in B.C. Political Economy. Ed. Paul Knox and Philip Reznick. Vancouver: New Star, 1974, pp. 65-73.

B405     "A Putting Down of Roots." Editorial. CV/II, 1, No. 1 (Spring 1975), 2.

B406     "Livesay's Choice." Canadian Dimension, 10, No. 8 (June 1975), 15-16.

B407     "Rememberings." CV/II, I, No. 2 (Fall 1975), 2-3.

B408     Foreword. In Alan Crawley and Contemporary Verse. By Joan McCullagh. Vancouver: Univ. of British Columbia Press, 1976, pp. vii-xvii.

B409     "Two Women Novelists of Canada's West." Review of National Literatures, 7 (1976), 127-32.

B410     "Progress Report." Editorial. CV/II, 2, No. 1 (Jan. 1976), 2-3.

B411     "Canadian Poetry and the Spanish Civil War." CV/II, 2, No. 2 (May 1976), 12-16. RHLH.

B412     Editorial. CV/II, 2, No. 2 (May 1976), 2.

B413     "Touching the Earth." CV/II, 2, No. 3 (Autumn 1976), 35.

B414     "Expatriots, Exiles and Some Homebodies." Editorial. CV/II, 2, No. 4 (Dec. 1976), 2.

B415     "Poetry. Notes." CV/II, 2, No. 4 (Dec. 1976), 3.

B416     "Canadian Writers in Bulgaria." Journal of Canadian Fiction, No. 19 (1977), pp. 38-39.

B417     "Commentary." West Coast Review, 12, No. 2 (1977), 69-70. A commentary by Livesay on her poems published in the issue. (See B265, B266, B267, B268.)

B418     "Poetry Notes." CV/II, 3, No. 2 (Summer 1977), 2.

B419     "Poets Yap, Writers Are Suppressed -- Why Can't Canada Be Just Like Bulgaria?". The Globe and Mail, 16 July 1977, p. 6.

B420     "On the Way Out." Editorial. CV/II, 3, No. 3 (Jan. 1978), 2.

B421     "Ambivalences." Room of One's Own, 5, Nos. 1-2 (1979), 95-96.

B422     "At the Back of My Mind 1958-9.'' Room of One's Own, 5, Nos. 1-2 (1979), 37-41.

B423     "At the World's End; Where I Am Now." Room of One's Own, 5, Nos. 1-2 (1979), 113-14.

B424     "Diary Notes (May/June 1979)." Room of One's Own, 5, Nos. 1-2. (1979), 77-82.

B425     "Doctors." Room of One's Own, 5, Nos. 1-2 (1979), 92-94.

B426     "Leftovers." Room of One's Own, 5, Nos. 1-2 (1979), 98-99.

B427     "No Rape." Room of One's Own, 5, Nos. 1-2 (1979), 97.

B428     "Not on My Verandah." Room of One's Own, 5, Nos. 1-2 (1979), 83-91.

B428a     "Introduction." In In Due Season. By Christine Van der Mark. Vancouver: New Star, 1979, n. pag.

B429     "Remembering Mazo." In Selected Stores of Mazo de la Roche. Ed. and introd. Douglas Daymond. Ottawa: Univ. of Ottawa Press, 1979, pp. 11-13.

B430     "A Canadian Writer's View of the SOVA Conference." CHIMO, No. 1 (Spring 1980), pp. 6-7.

B431     "Carr and Livesay." Canadian Literature, No. 84 (Spring 1980), pp. 144-47.

B432     "An Excursion into Understanding." The Vancouver Sun, 15 Oct. 1981, p. 5.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Audio recordings  

Ricketts, Alan (compiler)

B549     Alan Crawley Profile. Toronto: CBC Special Disc Collection, 1950.

B550     Six Vancouver Poets. Folkways, 1960.

B551     Canadian Poets on Tape. No. 2. Prod. Earle Toppings. Toronto: Ontario Institute for Studies in Education, 1970. (Cassette; 33 min.) Reproduced Scarborough: Van Nostrand Reinhold, 1972. (Cassette; 33 min.) This cassette also includes Gwendolyn MacEwen. Livesay reads the following poems: "Ballad of Me," "Bartok and the Geranium," "Call My People Home," "Day and Night," "Green Rain," "Lorca," "The Rat," "Signature," "Song for Solomon," "Such Silence," and "Zambia: The Leader and the Prophetess." The recording also includes Livesay's commentary on each poem.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Lyrics  

Ricketts, Alan (compiler)

B358     Libretto. The Lake and Susan Allison. By Barbara Pentland. CBC Radio, 1955. A chamber opera for four voices and fifteen instruments. Music by Barbara Pentland.

B359     "The Woman I Am." Text for Interpretive Dance. Rachel Browne and the Contemporary Dancers [Winnipeg]. 24-25 Oct. 1975.

B360     "Disasters of the Sun." Music by Barbara Pentland. Winnipeg, 23 Jan. 1977. A seven-poem cycle.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Plays  

Ricketts, Alan (compiler)

B354     "Joe Derry: A Pantomine in Seven Scenes with Recitation for Children's Groups." Masses, No. 10 (Sept. 1933), pp. 14-15.

B355     Momatkum. CBC Radio, 25 Sept. 1951.

B356     "Edith Sitwell Anthology." CBC Radio, 17 March 1954.

B357     "Edith Sitwell Anthology." CBC Radio, 14 Dec. 1964.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Poems  

Ricketts, Alan (compiler)

Note: When an item is reprinted m one of Livesay's books, this fact is noted in the entry through one of the following abbreviations:

 Call My People Home -------------------------- CMPH
 Collected Poems: The Two Seasons --------------- CP
 The Colour of God's Face ---------------------- CGF
 Day and Night ---------------------------------- DN
 The Documentaries ------------------------------- D
 Green Pitcher ---------------------------------- GP
 Ice Age ---------------------------------------- IA
 New Poems -------------------------------------- NP
 Nine Poems of Farewell 1972-1973 -------------- NPF
 The Phases of Love ----------------------------- PL
 Plainsongs, 1st ed ----------------------------- P1
 Plainsongs, 2nd ed ----------------------------- P2
 Poems for People ------------------------------- PP
 Right Hand Left Hand ------------------------- RHLH
 Selected Poems of Dorothy Livesay [1926-1956] -- SP
 Signpost ---------------------------------------- S
 The Unquiet Bed -------------------------------- UB
 A Winnipeg Childhood --------------------------- WC
 The Woman I Am: Best Loved Poems from One of 
           Canada's Best Loved Poets ---------- WIA

Poems

B1     "Absence." In Poetry Yearbook, 1926. Montreal: Canadian Authors Association, 1926, p. 32. CP ("The Absences").

B2     "Fireweed." In Poetry Yearbook, 1926. Montreal: Canadian Authors Association, 1926, p. 33. GP; CP.

B3     "Shower." In Poetry To-Day ["A Quarterly 'Extra' of The Poetry Review"], Summer 1927, p. 67. Rpt. in The Mail and Empire [Toronto], 26 Nov. 1927, n. pag. GP; CP (revised).

B4     "Advice to the Lovelorn: A Triolet." The Varsity [Univ. of Toronto], 10 Oct. 192 Signed: "D. L."

B5     "Leaves." The Varsity [Univ. of Toronto], 16 Nov. 1927, p. 2. Signed: "K. B."

B6     "Phantoms." The Varsity [Univ. of Toronto], 19 Dec. 1927, p. 6.

B7     "Song for a Cynic." The Varsity [Univ. of Toronto], 19 Dec. 1927, p. 1.

B8     "Growth." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 42 (Christmas 1927), 25. CP.

B9    "The Man of Destiny." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 41 (Christmas 1927), 25.

B10     "Nymph Song." Vancouver Province, 30 Dec. 1927, p. 26.

B11     "Impuissance." In Poetry Yearbook, 1918. Montreal: Canadian Authors Association, 1918, p. 18. GP; CP.

B12     "Fate's Revenge." The Varsity [Univ. of Toronto], 21 Feb. 1928, p. 2. Signed: "D. K. L."

B13     "Dimitry in Town." Chatelaine, March 1918, p. 16. Rpt. in Vancouver Province, 17 March 1918, p. 6. GP ("A Country Mouse in Town").

B14     "Such Silence." Willison's Monthly, April 1918, p. 432. GP; SP (revised); CP.

B15     "Sudden Awakening." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 43 (Easter 1918), 17.

B16     "Secret." Chatelaine, May 1918, p. 19. Rpt. in Vancouver Province, 2 May 1918, p. 6. GP; CP.

B17     "A Thief in Heaven." Vancouver Province, May 1918, p. 6.

B18     "The Woman Who Lived Alone." Vancouver Province, 15 July 1918, Sec. Magazine, p. 4.

B19     "Enchantment." Vancouver Province, 22 Sept. 1928, p. 8.

B20     "Injunctions." Vancouver Province, 23 Sept. 1928, p. 6.

B21     "Messages." Vancouver Province, 23 Sept. 1918, Sec. Magazine, p. 4. Rpt. in The Fiddlehead, No. 71 (Winter 1967), pp. 50-51.

B22     "Testament." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 44 (Christmas 1928), 24. S; CP.

B23     "Pioneer." In Poetry Yearbook, 1929-30 Montreal: Canadian Authors Association, 1929, p. 23. CP.

B24     "City Wife." The Varsity [Univ. of Toronto], 11 Jan. 1929, p. 1. S; CP (revised). Extracts from the Jardine Memorial Award Prize poem.

B25     "Sheila." Saturday Night, 16 March 1929, Spring Literary Supplement, p. 4.

B26     "City Night." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], Easter 1929, p. 10.

B27     "Parrot of Night." The Canadian Forum, Sept. 1929, p. 422. S ("Staccato"); CP.

B28     "North Country." Privateer, 4 Oct. 1929, p. 3. Signed: "D. K. L."

B29     "Song for Departure." Saturday Night, 12 Oct. 1929, Fall Literary Supplement, p. 4. S; CP.

B30     "Alienation." Privateer, 16 Dec. 1919, p. 15. Rpt. in The Canadian Forum, Jan. 1931, p. 134. S; SP; CP.

B31     "In the Street." Privateer, 16 Dec. 1929, p. 15. S; CP.

B32     "Journey." Privateer, 16 Dec. 1929, p. 15. S; CP.

B33     "Prelude." Privateer, 16 Dec. 1929, p. 15. CP ("The Gulls").

B34     "Sea-Flowers." Saturday Night, 5 April 1930, 13. S; SP (revised); CP (revised).

B35     "Tokens." The Canadian Forum, May 1930, p. 286. S; SP (revised); CP (revised); WIA.

B36     "If It Were Easy." The Canadian Forum, July 1930, p. 356. CP.

B37     "I Was Not Indiscreet." Saturday Night, 11 Oct. 1930, p. 19.

B38     "In the Wood." Varsity [Univ. of Toronto], 16 Dec. 1930. Rpt. in Trinity University Review, 43, No. 4 (Jan. 1931), 122. S; CP.

B39     "Gardening." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], Christmas 1930, p. 6.

B40     "Green Ram." St. Hilda's Chronicle, Christmas 1930, p. 17. S; SP; CP; WIA.

B41     "The Difference." The Canadian Forum, May 1931, p. 293. S; SP', CP (revised); WIA.

B42     "Song for Solomon." The Canadian Forum, June 1931, p. 329. S; SP; CP.

B43     "The Unbeliever." The Canadian Forum, Sept. 1931, p. 458. S; CP.

B44     "No Kiss." The Canadian Forum, Dec. 1931, p. 103.

B45     "'Haunted House.'" Voices, Winter 1931, p. 262. S; CP (revised).

B46     "Morning in Autumn." The Canadian Forum, Jan. 1932, p. 134.

B47     "Postscript." The Canadian Forum, Jan. 1932, p. 134. UB; CP; WIA.

B48     "Reiteration." The Canadian Forum, Jan. 1932, p. 134.

B49     "Samaritan." The Canadian Forum, Jan. 1932, p. 134.

B50     "Pink Ballad." Masses, 1, No. 7 (Dec. 1932), n. pag. RHLH. Signed:" D. L."

B51     "A Girl Sees It!". Masses, 1, No. 8 (March-April 1933), n. pag. CP ("In Green Solariums").

B52     "Broadcast from Berlin." Masses, 2, No. 10 (Sept. 1933), 10.

B53     "Canada to the Soviet Union." Masses, 2, No. 12 (March-April 1934), 9. RHLH.

B54     "Day and Night." Canadian Poetry Magazine, i, No. 1 (Jan. 1936), 8-13. DN; SP; D (revised); CP (revised); RHLH (revised).

B55     "Shaped Like a Bugle." The Canadian Forum, May 1936, p. 11. Rpt. in Saturday Night, 24 June 1939, p. 8. CP ("'Queen City'").

B56     "Yes." New Frontier, 1, No. 2 (May 1936), 24.

B57     "Doom Elegy." New Frontier, 1, No. 4 (July 1936), 14.

B58     "Elegy for Today." New Frontier, 1, No. 4 (July 1936), 14.

B59     "Two Poems: And Still We Dream." New Frontier, I, No. 6 (Oct. 1936), 5. CP ("Deep Cove: Vancouver").

B60     "Two Poems: Man Asleep." New Frontier, I, No. 6 (Oct. 1936), 5.

B61     "The Fallow Mind." The Canadian Forum, Dec. 1936, p. 71. Rpt. in The Canadian Forum, Dec. 1939, P. 277. DN ("Seven Poems [v. The fallow mind in winter...]"); CP.

B62     "The Dispossessed." New Frontier, 1, No. 10 (Feb. 1937), 7.

B63     "In Praise of Evening." New Frontier, 1, No. 10 (Feb. 1937), 7.

B64     "In Preparation." New Frontier, I, No. 10 (Feb. 1937), 7.

B65     "A Mother, 1918." New Frontier, I, No. 12 (April 1937), 19.

B66     "Spain." New Frontier, 2, No. 2 (June 1937), 16. Rpt. in Marxist Quarterly, No. 18 (Summer 1966), p. 2. CP.

B67     "For Ontario." In New Harvesting: Contemporary Canadian Poetry, 1918-1938. Ed. Ethel Hume Bennett. Toronto: Macmillan, 1938, p. 69.

B68     "Winter." In New Harvesting: Contemporary Canadian Poetry, 1918-1938. Ed. Ethel Hume Bennett. Toronto: Macmillan, 1938, p. 67. SP.

B69     "Annie Charlotte Dalton." Saturday Night, 29 Jan. 1938, p. 3.

B70     "At English Bay." Saturday Night, 5 March 1938, p. 2. CP ("At English Bay: December, 1937"); RHLH.

B70a     "Grouse Mountain." Full Tide, 2, No. 3 (May 1938), 2.

B71     "Challenge from Clairton." Canadian Poetry Magazine, 3, No. 3 (Dec. 1938), 39.

B71a     "Words for a Chorus." Full Tide, 3, No. 1 (Feb. 1939), 6.

B72     "Cataclysm." Canadian Bookman, 11, No. 2 (June-July 1939), 16.

B73     "A Clearing." Saturday Night, 22 July 1939, p. 23.

B74     "2000 A.D." Canadian Bookman, 21, No. 4 (Oct.-Nov. 1939), 29.

B75     "We Are Alone." Saturday Night, 18 Nov. 1939, p. 3.

B76     "Lorca." Poetry [Chicago], 58 (April 1941), 30-32. DN; SP (revised); CP (revised); RHLH (revised).

B77     "Nocturne." Poetry [Chicago], 58 (April 1941), 33. Rpt. in Canadian Literature, No. 41 (Summer 1969), p. 96. NP; SP (revised); CP (revised); WIA ["Five Poems for Alan Crawley (1887-1975): Nocturne"].

B78     "The Child Looks Out." Contemporary Verse, No. 1 (Sept. 1941), p. 10. DN ("Seven Poems [vi. The child looks out ...]"); SP (revised -- "The Child Looks Out"); CP (revised --"Seven Poems [vi. The child looks out ...]"); RHLH ("Seven Poems [vi: The child looks out...]").

B79     ["And life goes on. And here .... "] Contemporary Verse, No. 2 (Dec. 1941), p. 8. DN ("Seven Poems [vii. And life goes on. And here...]"); CP.

B80     ["Terrible to be a child, you said: so unaware ...."] Contemporary Verse, No. 2 (Dec. 1941), p. 8.

B81     ["When the house snaps out its lights ...."] Contemporary Verse, No. 2 (Dec. 1941), p. 8.

B82     "Prelude for Spring." Canadian Review of Music and Art, I, No. 3 (April 1942), 12. DN; SP (revised); CP (revised).

B83     "Five Poems [i. In the dream was no kiss ...], [ii. Your face is new ...], [iii. Early I lifted the oars of day ...], [iv. Night's soft armour welds me into thought ...], [v. Your words beat out in space ...]." Contemporary Verse, No. 5 (Sept. 1942), pp. 5-8. DN; SP (revised -- "Annunciation"); CP (revised -- "Five Poems [i. In the dream was no kiss ...], [ii. Your face is new...], [iii. Early I lifted the oars of day...], [iv. Night's soft armour welds me into thought...], [v. Your words beat out in space ...]").

B84     "Serenade for Strings." Contemporary Verse, No. 5 (Sept. 1942), pp. 3-5. Rpt. in Canadian Review of Music and Art, Nos. 7-8 (Aug.-Sept. 1944), P. 6. DN; SP (revised -- "Nativity"); CP (revised -- "Serenade for Strings"); WIA.

B85     "Godmother." Saturday Night, 31 Oct. 1942, p. 35. CP.

B86     "Letter at Midnight." Saturday Night, 31 Oct. 1942, p. 35. CP.

B87     "To an Evacuee." Saturday Night, 31 Oct. 1942, p. 39.

B88     "Preludium." The Canadian Forum, May 1943, P. 31. PP; CP.

B89     "The Outrider." First Statement, 2, No. 2 (Sept. 1943), 11-18. DN; D (revised); CP; RHLH (revised).

B90     "Sonnets for a Soldier [You went, wordless; and I had not the will ...], [When in disgrace with self (not mindful of...], [No hands to touch, whom distance separates ...]." Saturday Night, 4 Dec. 1943, P. 3. PP (revised, excerpt -- [You went, wordless; but I had not the will...] and [No hands to touch, whom distance separates ...]); SP (revised, expanded -- "In Time of War [I. You went, wordless; but I had not the will...], [II. You knew the secret wood. Absorbed ...], [III. Confused, embedded, over-turbulent world ...], [IV. It seemed a poor thing to do, to wed, when the Japs...]"); CP (revised -- "In Time of War [1. You went, wordless; but I had not the will ...], [2. You knew the secret wood. Absorbed...], [3. Confused, embedded, over-turbulent world ...], [4. It seemed a poor thing to do, to wed, when the Japanese ...]"); WIA (excerpt [4. It seemed a poor thing to do, to wed, when the Japanese..."]). There are two of these sonnets m Poems for People. "You Knew the Secret Wood" (B98) and "Railway Station" (B99) are used as Sections I and III in Selected Poems of Dorothy Livesay and Collected Poems: The Two Seasons.

B91     "West Coast: Prelude, The Outsider, Shipyard Voices, Finale." Contemporary Verse, No. 9 (Jan. 1944), pp. 3-10. DN; CP (revised -- "West-Coast: 1943. Prelude, The Outsider, Shipyard Voices, Finale"); RHLH (excerpt -- "from West Coast: Finale").

B92     "Point Counterpoint." The Canadian Forum, Feb. 1944, P. 158. PP.

B93     "The Take-Off." Canadian Review of Music and Art, Feb.-March 1944, P. 22.

B94     "Of Mourners." Queen's Quarterly, 51 (Spring 1944), 72. PP; SP; CP.

B95     "Variations on a Theme by Thomas Hardy." First Statement, 2, No. 6 (April 1944), 2-4.

B96     "In the Rooms of My Mind You Pace." Contemporary Verse, No. 11 (July 1944), pp. 3-4. PP ("Inheritance"); SP; CP.

B97     "Invasion." The Canadian Forum, July 1944, p. 90.

B98     "You Knew the Secret Wood." Contemporary Verse, No. 11 (July 1944), p. 3. PP ("Letter from Canada"); SP (expanded -- "In Time of War [II. You knew the secret wood. Absorbed ...]"); CP ("In Time of War [2. You knew the secret wood. Absorbed...]"). See B90.

B99     "Railway Station." The Canadian Forum, Feb. 1945, P. 160. PP; SP (expanded -- "In Time of War [III. Confused embedded, over-turbulent world ...]"); CP ("In Time of War [3. Confused, embedded, over-turbulent world...]"). See B90.

B100     "F. D. R." The Canadian Forum, June 1945, p. 71. PP ("F D R").

B101     "For Paul Robeson: Playing Othello." The Canadian Forum, June 1945, p. 71.

B102     "Carnival." Contemporary Verse, No. 14 (July 1945), pp. 3-6. PP; SP (revised); CP (revised).

B103     "Small Fry." Northern Review, 1, No. 1 (Dec.-Jan. 1945-46), 45. PP; CP.

B104     "The Inheritors." The Canadian Forum, Aug. 1946, p. 109. PP.

B105     "Abracadabra." Canadian Poetry Magazine, 10, No. 1 (Sept. 1946), 15-16. PP; SP(revised); CP (revised); WIA (revised).

B106     "Evensong." The Canadian Forum, Sept. 1946, p. 125. Rpt. in Quarry, 22, No. 2 (Spring 1973), 7. PP; IA.

B107     "Okanagan Pictures." The Canadian Forum, Sept. 1946, p. 140. PP.

B108     "London Revisited -- 1946." The Canadian Forum, Feb. 1947, p. 154. PP [revised -- "London Revisited (1946)"]; SP ("London Revisited"); CP ("London Revisited: 1946").

B109     "Autumn in Wales." Contemporary Verse, No. 20 (Spring 1947), pp. 6-8. PP; CP (revised).

B110     "Easter." Contemporary Verse, No. 20 (Spring 1947), P. 5. Rpt. in Voices, Spring 1948, p. 30. CP; WIA.

B111     "Page One." Contemporary Verse, No. 20 (Spring 1947), pp. 3-5. Rpt. in Voices, Spring 1948, pp. 2829. PP; SP; CP.

B112     "V-J Day." Contemporary Verse, No. 20 (Spring 1947), p. 6. PP.

B113     "Lullaby." Canadian Poetry Magazine, 11, No. 4 (June 1947), 16-17. PP; CP.

B114     "Matins." Canadian Poetry Magazine, 11, No. 4 (June 1947), 17-18. PP.

B115     "Ferry Trip." The Canadian Forum, Sept. 1947, p. 136. CP.

B116     "A Poet's Grade to Fishing." Saturday Night, 18 Oct. 1947, p. 5.

B117     "Vancouver Winter." Saturday Night, 24 Jan. 1948, p. 21.

B118     "London in Retrospect." Voices, Spring 1948, p. 31.

B119     "Sea Sequence." Contemporary Verse, No. 25 (Summer 1948), pp. 9-10.

B120     "Variations on a Tree." The Canadian Forum, Nov. 1948, p. 185. CMPH; SP (revised); CP (revised); WIA.

B121     "The Child in Fear." Saturday Night, 8 Feb. 1949, p. 25.

B122     "Call My People Home." Contemporary Verse, No. 28 (Sept. 1949), pp. 3-19. CMPH; D(revised); CP (revised).

B123     "Tale." Saturday Night, 28 Feb. 1950, p. 6. CMPH; CP (revised).

B124     "Interval with Fire." Northern Review, 3, No. 3 (Feb.-March 1950), 31-33. CMPH; SP (revised); CP.

B125     "The Invisible Sun." Northern Review, 3, No. 3 (Feb.-March 1950), 33. CMPH ("'Invisible Sun'"); CP (revised -- "Invisible Sun").

B126     "Vancouver." Contemporary Verse, No. 31 (Spring 1950), pp. 15-16.

B127     "Bulldozer." The Canadian Forum, June 1950, p. 60.

B128     "Adam's Choice." The Canadian Forum, June 1950, p. 60.

B129 "Departure in November." Canadian Life, 1, No. 5 (Fall 1950), p. 15. CMPH.

B130     "Ancestral Theme." Contemporary Verse, No. 36 (Fall 1951), pp. 13-15.

B131     "Hymn to Man." Contemporary Verse, No. 36 (Fall 1951), pp. 12-13. SP; CP (revised).

B132     "A Ballad for Susan." The Canadian Forum, Oct. 195z, pp. 162-63. CP (revised -- "Epithalamium for Susan"); WIA.

B133     "Bartok and the Geranium." Contemporary Verse, No. 39 (Fall-Winter 1952), p. 3. NP; SP (revised); CP (revised); WIA.

B134     "Song [Only at night in sleep...]." Saturday Night, 17 Jan. 1953, p. 12. NP ("Winter Song"); CP.

B135     "The Three Emilys." The Canadian Forum, Sept. 1953, P. 138. CP ("The Three Emily's"); WIA.

B136     "Travellers." Queen's Quarterly, 60 (Autumn 1953), 384. SP ("The Traveller"); CP (revised).

B137     "Lament." The Fiddlehead, No. 19 (Nov. 1953), pp. 4-5. Rpt. in Canadian Author & Bookman, 43, No. 1 (Autumn 1967), 10. SP; CP (revised); WIA (revised).

B138     "Prayer." The Fiddlehead, No. 19 (Nov. 1953), p. 1.

B139     "Easter 1951 (After Hiroshima)." The Fiddlehead, No. 21 (May 1954), p. 9. NP ("After Hiroshima"); CP.

B140     "Loss." The Fiddlehead, No. 30 (Nov. 1956), p. 27.

B141     "On Looking into Henry Moore." The Fiddlehead, No. 30 (Nov. 1956), p. 11. SP; CP (revised); WIA.

B142     "The Immortals." The Canadian Forum, Jan. 1957, p. 232.

B143     "Seasonal." The Canadian Forum, Jan. 1957, p. 232.

B144     "To a Younger Poet." The Canadian Forum, Jan. 1957, p. 232. UB.

B145     "Lovers." The Canadian Forum, April 1957, p. 21.

B146     "Meditation." Delta [Montreal], No. 3 (April 1958), p. 23.

B147     "In the Ward." The Canadian Forum, May 1959, pp. 41-42.

B148     "Cote d'Azur." The Fiddlehead, No. 41 (Summer 1959), pp. 2-3.

B149     "In the Park." The Fiddlehead, No. 41 (Summer 1959), P. 3.

B150     "She Replies to His Pleas." The Fiddlehead, No. 41 (Summer 1959), p. 3.

B151     "Natural Selection." New Statesman, 27 June 1959, p. 897.

B152     "Ballet of Squares: Trafalgar, November Eleven, Fitzroy, Guston Square: Quaker Meeting, Russell Square: Winter, Mothering Square." Delta [Montreal], No. 8 (July 1959), pp. 14-15. CP ("Ballet of Squares: 1. Trafalgar, 2. November Eleven, 3. Fitzroy, 4. Guston Square: Quaker Meeting, 5. Russell Square: Winter, 6. Mothering Square").

B153     "The Dismembered Poem." The Canadian Forum, July 1959, p. 95. CP.

B154     "The Emperor's Circus." Prism International, 1, No. 1 (Sept. 1959), 42. UB; CP (revised).

B155     "Spring in Russell Square." The Canadian Forum, Dec. 1959, pp. 201-02. Rpt. ("May in Russell Square") in Delta [Montreal], No. 10 (Jan.-March 1960), pp. 20-21.

B156     "Voyage." The Canadian Forum, Sept. 1960, p. 139. CP ("The Voyage Out").

B157     "Prophet." The Canadian Forum, Jan. 1962, p. 228. CGF ("The Prophetess"); UB (revised -- "Zambia: The Prophetess"); CP.

B158     "Village." Prism International, 4, No. 1 (Summer 1964), 43. CGF; UB (revised -- "Zambia: Village"); CP.

B159     "Ballad of Me." The Canadian Forum, Jan. 1965, pp. 230-31. UB; CP (revised); WIA.

B160     "Zambia." Cyclic, I, No. 1 (June 1965), 6-9. Rpt. in Other Voices, 3, No. 3 (Nov. 1967), 8-11. CP [revised -- "The Second Language (State): Before Independence (Zambia)"].

B161     "Africa." Literary Review, 8 (Summer 1965), 548. 49.

B162     "Cockcrow." Literary Review, 8 (Summer 1965), 548.

B163     "Without Benefit of Tape." Prometheus, No. 2 (Summer 1965), n. pag. Rpt. in The Atlantic Advocate, Sept. 1966, p. 86. UB; CP.

B164     "Making the Poem." BlewOintment, 3, No. I (Nov. 1965), n. pag. UB; CP.

B165     "Gloss of Poems." The Tamarack Review, No. 39 (Spring 1966), pp. 59-61. UB (excerpt -- "For Abe Klexn: Poet"); CP (revised, expanded).

B166     "And Give Us Our Trespasses." The Canadian Forum, June 1966, p. 55. UB; CP (revised).

B167     "Persephone." The Atlantic Advocate, Sept. 1966, p. 86.

B168     "The Sky-Watchers." The Atlantic Advocate, Sept. 1966, p. 86.

B169     "Sunfast." The Atlantic Advocate, Sept. 1966, p. 86. UB; CP (revised).

B170     "This Clowning Art." The Atlantic Advocate, Sept. 1966, p. 86. Rpt. in Other Voices, 3, No. 3 (Nov. 1967), 6-8.

B171     "Eve." The Fiddlehead, No. 70 (Winter 1967), pp. 48-49. UB; CP; WIA.

B172     "For Richer for Poorer." Quarry, 16, No. 2 (Jan. 1967), 30-31.

B173     "Messages." The Fiddlehead, No. 70 (Winter 1967), p. 50.

B174     "Moving Out." The Canadian Forum, Jan. 1967, p. 229. UB; CP.

B175     "The Rat." The Fiddlehead, No. 70 (Winter 1967), pp. 47-48. UB; CP.

B176     "Soccer Game." Quarry, 16, No. 2 (Jan. 1967), 31. Rpt. in Western Voice, 20 Nov. 1973, P. 8. UB; CP (revised).

B177     "Woman Waylaid." The Fiddlehead, No. 70 (Winter 1967), pp. 49-50. UB; CP (revised); WIA.

B178     "Fundy." The Atlantic Advocate, March 1967, p. 41.

B178a     "I Drink Now/No Fiery Stuff." Qolus, No. 1 (March 1967), p. 11.

B178b     "It Is the Fire You Love." Qolus, No. 1 (March 1967), p. 9.

B179     "Autumn 1966." Queen's Quarterly, 74 (Spring 1967), 62.

B180     "Empress." The Atlantic Advocate, June 1967, p. 72. UB; CP.

B181     "Centennial People." Saturday Night, July 1967, p. 26. Rpt. in Other Voices, 3, No. 3 (Nov. 1967), 5. P1.

B182     "Veldt Voices." Bitterroot, No. 18 (Autumn 1967), pp. 21-22.

B183     "The Sculptors." Other Voices, 3, No. 3 (Nov. 1967), 6-8. P1.

B183a     "'I dreamed that Seymour ....'" Up the Tube with One i (open) -- Pomes, No. 4 (1967), p. 1.

B184     "'The Metal and the Flower.'" Scan, No. 4 (April-May 1968),p. 24. P1.

B185     "Waking in the Dark." Scan, No. 4 (Aug.-Sept. 1968), p. 33. Rpt. in New: American and Canadian Poetry, No. 7 (Sept. 1968), p. 33. P1; P2 (revised); CP (revised).

B186     "Random Pictures: The Manga." New: American and Canadian Poetry, No. 7 (Sept. 1968), p. 34. ("Random Pictures").

B187     "Birthday." Pluck, No. 2 (Fall 1968), p. 17. Rpt. in The Canadian Forum, April-May 1970, p. 117.

B188     "The Cave." Pluck, No. 2 (Fall 1968), p. 16. P1; P2; CP.

B189     "Another Journey." Far Point, No. i (Fall-Winter 1968), pp. 33-34. Rpt. in Intrepid, No. 16 (Summer-Fall 1969), p. 70. P1; P2 (revised); CP (revised).

B190     "Among Friends." The Fiddlehead, No. 78 (Jan.Feb. 1969), p. 8.

B191     "Carman and His Editors." The Fiddlehead, No. 78 (Jan.-Feb. 1969) p. 3.

B192     "De-Evolution." The Fiddlehead, No. 78 (Jan.-Feb. 1969), p. 6. P1; P2; CP.

B193     "'Geranus... Crane.'" The Fiddlehead, No. 78 (Jan.-Feb. 1969), p. 5.

B194     "House Keeper." The Fiddlehead, No. 78 (Jan.-Feb. 1969), p. 7.

B195     "Insomnia." The Fiddlehead, No. 78 (Jan.-Feb. 1969), p. 8.

B196     "A Modern Crusoe." The Fiddlehead, No. 78 (Jan.Feb. 1969), p. 4.

B197     "Return to a Birthplace." Canadian Author dr Bookman, 44, No. 3 (Spring 1969), 23. IA; WIA (revised).

B198     "The Lovers." Quarry, 18, No. 4 (Summer 1969), 16-17.

B199     "On Re-Reading a Letter." Quarry, 18, No. 4 (Summer 1969), 19.

B200     "The Operation." Quarry, 18, No. 4 (Summer 1969), 17-18. P1; P2 (revised); CP (revised).

B201     "The Woman with Small Hands." Quarry, 18, No. 4 (Summer 1969), 19.

B202     "A Call for Sorcery." Intrepid, No. 16 (Summer-Fall 1969), p. 72.

B203     "Progression." Intrepid, No. 16 (Summer-Fall 1969), p. 72.

B204     "The Woman." Intrepid, No. 16 (Summer-Fall 1969), p. 71. P1; P2; CP.

B205     "Aliens All." The Merry Devil of Edmonton, i, No. 1 (Nov. 1969), broadsheet.

B206     "No Exit." The Merry Devil of Edmonton, 1, No. I (Nov. 1969), broadsheet.

B207     "Ceremonial Journey." Copperfield, No. 1 (Late 1969), pp. 5-7.

B208     "Snowy Morning." Canadian Author & Bookman, 45, No. 2 (Winter 1969), 8.

B209     "Fancy!". First Encounter, No. 2 [1970], p. 46.

B210     "Rowan Red Rowan." First Encounter, No. 2 [1970], p. 46. P2; CP.

B211     "Mud Bath." The Merry Devil of Edmonton, 1, No. 4 (April 1970), broadsheet.

B212     "From My Balcony." The Canadian Forum, April-May 1970, p. 55.

B213     "The Second Language." The Canadian Forum, April-May 1970, p. 102. CP ["The Second Language (Suite): The Second Language"].

B214     "Solstice." The Canadian Forum, April-May 1970, p. 67.

B215     "The Artefacts: West Coast." The Canadian Forum, Nov.-Dec. 1970, pp. 283-84. P2 ("The Artefacts: West Country"); CP (revised -- "The Artefacts: West Coast").

B216     "Out of the Cradle." The Canadian Forum, Nov.Dec. 1970, p. 282.

B217     "Catalonia." Canadian Literature, No. 47 (Winter 1971), pp. 44-48. CP; RHLH.

B218 "Interior Landscape." The Fiddlehead, No. 88 (Winter 1971), pp. 25-26.

B219     "Intermedia." The Fiddlehead, No. 88 (Winter 1971), p. 26.

B220     "Latter Day Eve." The Fiddlehead, No. 88 (Winter 1971), pp. 28-29 P2; CP (revised); WIA (revised).

B221     "Look to the End." The Fiddlehead, No. 88 (Winter 1971), p. 27. P 2; CP; WIA.

B222     "Old Woman, Waking." The Fiddlehead, No. 88 (Winter 1971), p. 29.

B223     "Savour of Salt." The Canadian Forum, Feb, 1971, p. 393.

B224     "On Cleaning a Chicken." The Antigonish Review, 2, No. 1 (Spring 1971), 80.

B224a     "The Children's Letters." Blackfish, No. I (Spring 1971), p. 25.

B224b     "The Eaters." Blackfish, No. 1 (Spring 1971), p. 7.

B224c     "The Snow Girl's Ballad." Blackfish, No. 1 (Spring 1971), P. 43.

B225     "Weather Forecast." The Antigonish Review, 2, No. 1 (Spring 1971), 80. P2; CP (revised).

B226     "Wringso White." Canadian Author & Bookman, 46, No. 3 (Spring 1971), 10.

B227     "Another Sickness." The Malahat Review, No. 18 (April 1971), p. 92.

B228     "The Invasion." The Malahat Review, No. 18 (April 1971), p. 92.

B229     "Poem [A thousand roots ...]." The Malahat Review, No. 18 (April 1971), p. 94.

B230     "Not." Impulse, 1, No. 3 (Spring 1972), 35. 1972), 37. NPF ["March 26 (for Jean Crawley)"]; WIA ["Five Poems for Alan Crawley (1887-1975): March 26"].

B232     "To Be Blind." Impulse, I, No. 3 (Spring 1972), 35. IA; WIA ["Five Poems for Alan Crawley (1887-1975): To Be Blind"].

B233     "Time and Mrs. Macnair." Chatelaine, May 1972, p. 69. IA.

B234     "The Descent." Blackfish, No. 3 (Summer 1972), n. pag. IA; WIA.

B235     "Remembering Red Lane (1964)." Blackfish, No. 3 (Summer 1972), n. pag. IA (["Remembering Red Lane (died 1964)"].

B236     "The Stoned Woman." Blackfish, No. 3 (Summer 1972), n. pag. IA

B237     "Summer Landscape: Jasper." Blackfish, No. 3 (Summer 1972), n. pag. IA.

B238     "Three Mirror Poems [i. "As you came through the forest ...]." Tuatara [Victoria], Nos. 8-9 (Fall 1972), p. 29. IA ("Schizoid").

B239     "Three Mirror Poems [ii. When she goes to the movies ...]." Tuatara [Victoria], Nos. 8-9 (Fall 1972.), p. 30.

B240     "Three Mirror Poems [iii. You are my mirror...]." Tuatara [Victoria], Nos. 8-9 (Fall 1972), pp. 30-31.

B241     "Sorcery." Chatelaine, Oct. 1972, p. 106. P1; P2; CP.

B242     "Breathing." Northern Journey, No. 2 (1972-73), p. 89. IA; WIA.

B243     "Dilemma." Northern Journey, No. 2 (1972-73), p. 92.

B244     "Mathematics." Northern Journey, No. 2 (1972-73), p. 92. IA; WIA.

B245     "Why We Are Here." Northern Journey, No. 2. (1972-73), p. 91. IA; WIA.

B246     "Aging." Quarry, 22., No. 2. (Spring 1973), 10. NPF; IA (revised); WIA.

B247     "Grandmother." Quarry, 22., No. 2. (Spring 1973), II. NPF; IA (revised); WIA (revised).

B248     "Morning Rituals." Quarry, 22, No. 2 (Spring 1973), 8-9. IA; WIA.

B249     "Victorian Birds." Quarry, 22, No. 2 (Spring 1973), 12-14.

B250     "For Louis Frank: Nootka." Lakehead University Review, 6 (Fall-Winter 1973), 213-14. IA ("News from Nootka"); WIA.

B251     "Green Peace." Lakehead University Review, 6 (Fall-Winter 1973), 214.

B252     "Legends." Lakehead University Review, 6 (FallWinter 1973), 216. IA.

B253     "Thumbing a Ride." Lakehead University Review, 6 (Fall-Winter 1973), 214-15. IA; WIA.

B254     "Survival." BlewOintment, Dec. 1973, pp. 11-12. IA ("The Survivor").

B254a     "The Stoned Woman." Air [Women's Eye], Nos. 19-20-21 (1974), p. 50.

B254b "The Survivor." Air [Women's Eye], Nos. 19-20-21 (1974), pp. 51-52.

B254c "Windows." Air [Women's Eye], Nos. 19-20-21 (1974), pp. 55-56.

B255     "Interiors." Northern Light, 1 (Winter 1974), 7-8. IA; WIA.

B256     "Retirement in Victoria." Martlet, 13, No. 17 (10 Jan. 1974), 3.

B257     "Widow." Northern Light, 1 (Winter 1974), 8. IA; WIA.

B258     "For the New Year." Canadian Literature, No. 64 (Spring 1975), P. iii. IA; WIA.

B259     "Manifesto." Canadian Literature, No. 64 (Spring 1975), p. 66. IA.

B260     "The Last Letter." Waves, 4, No. 1 (Autumn 1975), 6. IA ("Last Letter").

B261     "Unitas." Waves, 4, No. 1 (Autumn 1975), 7. IA; WIA.

B262     "The Continuum (In Memory: Pat Lowther, October 1975)." The Fiddlehead, No. 108 (Winter 1976), p. 4. Rpt. (revised) in The Fiddlehead, No. 119 (Fall 1978), p. 11.

B263     "Every Woman You Loved." Queen's Quarterly, 83 (Spring 1976), 71. WIA ["Five Poems for Alan Crawley (1887-1975): Every Woman You Loved"].

B264     "Time Zone." Queen's Quarterly, 83 (Spring 1976), 72.

B265     "A Certain Dark." West Coast Review, 12., No. 2 (1977), 68.

B266     "Everyman, Everywoman." West Coast Review, 12, No. 2 (1977), 68.

B267     "Les Anglais: Coming Out of Quebec City." West Coast Review, 12, No. 2. (1977), 67.

B268     "Male Chauvinist." West Coast Review, 12., No. 2. (1977), 69.

B269     "All the Good Things." The Fiddlehead, No. 119 (Fall 1978), p. 8.

B270     "Canadian." The Fiddlehead, No. 119 (Fall 1978), p. 11.

B271     "The Critics." The Fiddlehead, No. 119 (Fall 1978), p. 13.

B272     "Margaret." The Fiddlehead, No. 119 (Fall 1978), p. 11.

B273     "The Origin of the Family." The Fiddlehead, No. 119 (Fall 1978 ), pp. 14 - 15. Rpt. (revised -- "Voices of Women: A Suite. The Origin of the Family") in Room of One's Own, 5, Nos. 1-2 (1979), p. 72.

B274     "Rarely the Children Know." The Fiddlehead, No. 119 (Fall 1978), p. 14.

B275     "Rush Hour." The Fiddlehead, No. 119 (Fall 1978), p. 13.

B276     "Uncut Grass." The Fiddlehead, No. 119 (Fall 1978), p. 9.

B277     "Valancy." The Fiddlehead, No. 119 (Fall 1978), p. 10.

B278     "Winter Night on the Rideau." The Fiddlehead, No. 119 (Fall 1978), p. 9.

B279     "The Enchanted Isle: A Dialogue." Room of One's Own, 5, Nos. 1-2. (1979), 120-23.

B280     "The Secret Doctrine of Women." Room of One's Own, 5, Nos. 1-2 (1979), 117-19.

B281     "Voices of Women: A Suite. Apocalypse (On hearing how the archaeologists found 'Lucy')." Room of One's Own, 5, Nos. 1-2 (1979), 74.

B282     "Voices of Women: A Suite. As You Get Older." Room of One's Own, 5, Nos. 1-2 (1979), 69.

B283     "Voices of Women: A Suite. Bus Trip." Room of One's Own, 5, Nos. 1-2 (1979), 71.

B284     "Voices of Women: A Suite. Cynic." Room of One's Own, 5, Nos. 1-2 (1979), 70.

B285     "Voices of Women: A Suite. In Times Like These." Room of One's Own, 5, Nos. 1-2 (1979), 65.

B286     "Voices of Women: A State. Mon Semblable, Mon Frere." Room of One's Own, 5, Nos. 1-2 (1979), 66. Rpt. ("Mon Semblable, Mon Frere") in The Canadian Forum, April 1980, p. 21.

B287     "Voices of Women: A Suite. My Source." Room of One's Own, 5, Nos. 1-2. (1979), 64.

B288     "Voices of Women: A Suite. Nothing Is Private." Room of One's Own, 5, Nos. 1-2 (1979), 67.

B289     "Voices of Women: A Suite. Reversals." Room of One's Own, 5, Nos. 1-2 (1979), 68.

B290     "Voices of Women: A Suite. Self-Portrait: The Androgyne." Room of One's Own, 5, Nos. 1-2 (1979), 76.

B291     "Voices of Women: A State. The Tears of Women." Room of One's Own, 5, Nos. 1-2 (1979), 75.

B292     "Home Town." CV/II, 5, No. 1 (Winter 1979), 42.

B293     "Clothes on the Line." The Canadian Forum, April 1980, p. 20.

B294     "Encounter." The Canadian Forum, April 1980, p. 21.

B295     "On Seeing 'The Day of the Dolphin.' " The Canadian Forum, April 1980, p. 20.

B296     "Partings." The Canadian Forum, April 1980, p. 21.

B297     "Pause." The Canadian Forum, April 1980, p. 21.

B298     "Willow Island (Lake Winnipeg)." The Canadian Forum, April 1980, p. 20.

B299     "I Lie Curled." Athanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 52.

B300     "Illumination." Athanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 49.

B301��    "Osmosis." Athanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 51.

B302     "Self on TV." Athanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 51.

B303     "Teachers." Atbanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 50.

B304     "Fever." Canadian Literature, No. 87 (Winter 1980), p. 100.

B305     "Friday's Child." Canadian Literature, No. 87 (Winter 1980), pp. 100-01.

B306     "A Soft Answer to Borges." Canadian Literature, No. 87 (Winter 1980), p. 101.

B307     "Jove's Daughter." Fireweed, No. 9 (Winter 1981), p. 80.

B308     "Dawnings." Waves, 9, No. 3 (Spring 1981), 53-55.

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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169

Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Reprinted anthology contributions: A selection  

Ricketts, Alan (compiler)

B309     "Absence," "Exile," "Journey," "The Room," "Sea-Flowers," "Time of Year," "To One Dying," and "Winter." In Modern Canadian Poetry. Ed. Nathaniel A. Benson. Ottawa: Graphic, 1930, pp. 111-20.

B310     "Sea-Flowers." In Our Canadian Literature. Ed. Bliss Carman and Lorne Pierce. Rev. ed. Toronto: Ryerson, 1935, p. 265.

B311     "Day and Night," "Fire and Reason," "For Ontario," "I Saw My Thought," "Sea Flowers," and "Winter." In New Harvesting: Contemporary Canadian Poetry, 1918-1938. Ed. Ethel Hume Bennett. Toronto: Macmillan, 1938, pp. 65-77.

B312     "The Child Looks Out." In Voices of Victory: Representative Poetry of Canada in Wartime. Ed. Amabel King. Toronto: Macmillan, 1941, p. 74.

B313     "The Fallow Mind" and "Prelude for Spring." In An Anthology of Canadian Poetry (English). Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1942, pp. 103-06.

B314     "City Wife," "For Federico Garcia Lorca," "Poem [Night's soft armour ...]," and "Prelude." In The Book of Canadian Poetry: A Critical and Historical Anthology. 1st ed. Ed. A.J.M. Smith. Chicago: Univ. of Chicago Press, 1943, pp. 335-43.

B315     "The Child Looks Out" and "Winter." In A Pocketful of Canada. Ed. John D. Robins. Toronto: Collins, 1946, pp. 124-25, 240-41.

B316     "The Glass House." In The Best American Short Stories: 1951. Ed. Martha Foley. Boston: Houghton Mifflin, 1951, pp. 218-27.

B317     "The Child Looks Out" and "Winter." In 20tb Century Canadian Poetry: An Anthology. Ed. Earle Birney. Toronto: Ryerson, 1953, pp. 21, 47-48.

B318     "Contact," "Epilogue to 'The Outrider,'" "Improvisation on an Old Theme," "The Inheritors," "Interval with Fire," and "Lament." In Canadian Poetry in English. Ed. Bliss Carman, Lorne Pierce, and V. B. Rhodenizer. Rev. and enl. ed. Toronto: Ryerson, 1954, pp. 382-87.

B319     "Fantasia," "On Looking into Henry Moore," and "Signature." In The Oxford Book of Canadian Verse: In English and French. Ed. A. J. M. Smith. Toronto: Oxford Univ. Press, 1960, pp. 273-79.

B320     "Abracadabra, .... And Give Us Our Trespasses," "Annunciation," "Ballad of Me," "Bartok and the Geranium," "A Boy in Bronze," "Day and Night," "Fantasia," "Farewell," "Fire and Reason," "From the Husk," "Going to Sleep," "Green Ram," "Improvisations on an Old Theme," "In the Street," "Lament," "The Leader," "London Revisited II: 1946," "Of Mourners," "On Looking into Henry Moore," "Prelude for Spring," "Sun," and "Wilderness Stone." In Poets Between the Wars: E.J. Pratt, F. R. Scott, A. J. M. Smith, Dorothy Livesay, A.M. Klein. Ed. Milton Wilson. New Canadian Library Original, No. O5. Toronto: McClelland and Stewart, 1967, pp. 126-54.

B321     "Fantasia," "The Leader," and "The Prophetess." In Modern Canadian Verse: In English and French. Ed. and introd. A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 114-20.

B322     "At Dawn, .... Auguries," "Easter Sunday, .... The Journey East," "The Operation," "The Uninvited," and "Waking in the Dark." In Contemporary Poetry of British Columbia. Ed. J. Michael Yates. Vancouver: Sono Nis, 1970, pp. 205-16.

B323     "Easter Sunday," "Heritage," and "The Operation." In 40 Women Poets of Canada. Ed. Dorothy Livesay with the assistance of Seymour Mayne. Montreal: Ingluvin, 1971, pp. 69-76.

B324     "Ballad of Me," "Call My People Home," "Corbin -- A Company Town Fights for Its Life," "Day and Night," "Fantasia," "Green Rain," "In Time of War," "Lorca," "Of Mourners," "On Looking into Henry Moore," "Prelude for Spring," "Reality," and "Winter." In The Evolution of Canadian Literature in English: 1914-1945. Ed. George L. Parker. Toronto: Holt, Rinehart and Winston, 1973, pp. 276-312.

B325     "Canadiana" and "The Pied Piper of Edmonton." In 39 Below: The Anthology of Greater Edmonton Poetry. Ed. Allan Shute and R. G. Fyfe. Edmonton: Tree Frog, 1973, pp. 61-67.

B326     "Morning Rituals," "Remembering Red Lane (I964)," "Retirement in Victoria," "The Stoned Woman," "The Survivor," and "Windows." In Woman's Eye: 12 B.C. Poets. Foreword and ed. Dorothy Livesay. Vancouver: Air, 1974, pp. 47-56.

B327     "Joe Derry: A Pantomine in Seven Scenes with Recitation for Children's Groups." In Eight Men Speak and Other Plays. Ed. Richard Wright and Robin Endres. Toronto: New Hogtown, 1976, pp. 107-12.

B328     "Les Anglais: Coming Out of Quebec City," "A Certain Dark," "Everyman, Everywoman," and "Male Chauvinist." In New West Coast: 71 Contemporary British Columbia Poets. Ed. Fred Candelaria. Vancouver: West Coast Review Books, 1977, pp. 67-69.

B329     "The Wedding." In Wild Rose Country: Stones from Alberta. Ed. David Carpenter. Ottawa: Oberon, 1977, pp. 129-38. Formerly ruled "The Mother-in-Law" (B353).

B330     "Another Journey," "Bartok and the Geranium," "Day and Night," "Eve," "Fantasia for Helena Coleman, Toronto Poet," "Fire and Reason," "Green Ram," "House amongst Trees," "On Looking into Henry Moore," "Schizoid," and "Unexpected Guests." In Literature in Canada. Ed. Douglas Daymond and Leslie Monkman. Vol. II. Toronto: Gage, 1978, pp. 220-33.

B331     "The Artefacts: West Coast," "Bartok and the Geranium," "Call My People Home," "Fire and Reason," "Going to Sleep," "Green Rain," "The Lake," "Spare," "Summer Landscape: Jasper," "The Unquiet Bed," and "Without Benefit of Tape." In 15 Canadian Poets Plus 5. Ed. Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 1-15.

B331     "The Cabbage" and "Going to Sleep." In To Say the Least: Canadian Poets from A to Z. Ed. and introd. P. K. Page. Toronto: Porcepic, 1979, pp. 41, 51.

B333     "Day and Night," "The Difference," "On Looking into Henry Moore," "Page One," "Signpost," "The Unquiet Bed," and "Wilderness Stone." In Introduction to Poetry: British, American, Canadian. Ed. Jack David and Robert Lecker. Toronto: Holt, Rinehart and Winston, 1981, pp. 580-86.

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Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Short stories  

Ricketts, Alan (compiler)

B334     "Heat." Canadian Mercury, 1, No. 2 (Jan. 1929), 36-38.

B335     "The Youngest: a Story." Privateer, 4 Oct. 1929, p. 6.

B336     "The Gay Unemployed." Privateer, 15 Nov. 1929, p. 10. Signed: "D. K. L."

B337     "Beach Sunday." The Canadian Forum, Jan. 1931, pp. 138-40.

B338     "Six Years." New Frontier, I, No. 1 (April 1936), 13-15. Signed: "Katherine Bligh."

B339     "Case Supervisor." New Frontier, 1, No. 4 (July 1936), 6-8. RHLH.

B340     "The Waiting Room." New Frontier, 1, No. 8 (Dec. 1936), 24-26.

B341     "A Cup of Coffee." Canadian Bookman, Aug.-Sept. 1939, pp. 5-9. RHLH.

B341     "'Proof of the Puddin' -- A North Vancouver Story." Saturday Night, 27 March 1948, p. 29...FT.-B343     "See the World Clearly." Saturday Night, 13 Nov. 1948, p. 36.

B344     "The Glass House." Northern Review, 3, No. 5 (June-July 1950), 1-10.

B345 "The Last Climb." Northern Review, 4, No. 6 (Aug.-Sept. 1951), 2-8.

B346     "First Crocus." The Canadian Forum, March 1952, p. 276.

B347     "Matt." The Canadian Forum, Jan. 1953, pp. 227, 229-30. WC.

B348     "A Prairie Sampler." Mosaic, 3, No. 3 (Spring 1970), pp. 85-92.. WC (excerpt -- "Preludes").

B349     "The Sparrows." Journal of Canadian Fiction, 1, No. 1 (Winter 1972.), 25-27. WC.

B350     "The Two Willies." Journal of Canadian Fiction, 1, No. 1 (Winter 1972.), 27-30. WC.

B351     "An Immigrant." The Literary Half- Yearly, 13, No. 2 (July 1972), 103-10. WC ("Anna").

B352     "The Other Side of the Street." The Literary Half-Yearly, 13, No. 2 (July 1972), 96-103. WC.

B353     "The Mother-in-Law." Branching Out, I, Preview Issue (Dec. 1973), 16-19. Retitled "The Wedding" (B329).

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Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Unpublished address  

Ricketts, Alan (compiler)

B552     "The Writer and the Idea of Progress." Literature and the Philosophy of Progress, The Association for Canadian and Quebec Literatures, Univ. of Ottawa, Ottawa. 1 June 1982.

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Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Interviews  

Ricketts, Alan (compiler)

C72     Fisher, Terry. "'A Poem Is a Happening.'" The Brunswickan [Univ. of New Brunswick], 1966, pp. 5-6. Livesay discusses "the present situation regarding creative writing in Canada" and comments on the influences which have shaped her poetry.

C73     Mintz, Helen, and Barbara Coward. "The Woman I am / is not what you see / move over love / make room for me." The Grape, 9-22 May 1973, pp. 10, 21. Rpt. ("Being a Writer m the Thirties: An Interview with Dorothy Livesay") in This Magazine, 7, No. 4 (Jan. 1974), 19-21.

      One-half of the interview is devoted to a discussion of Livesay's memories of the 1930s; the remaining section is an attack upon modern Canadian critics, particularly Margaret Atwood -- who "leaves out the entire tradition of social satire and social comment" in Survival. The Depression memories are interesting, but her passionate defense of a real nationalism, which "comes from an affirmation of love for the land, controlled by the people who live upon it," is the more significant feature of the interview.

C74     Lever, Bernice. "An Interview with Dorothy Livesay." The Canadian Forum, Sept. 1975, pp. 45-52. Includes a discussion of Livesay's whole career. The perspective is backwards from the present. Livesay describes the past fifteen years as the "most rewarding to me." Livesay approves of the comments on the significance of isolation in her work, and stresses the importance of regionalism.

C75     Beardsley, Doug, and Rosemary Sullivan. "An Interview with Dorothy Livesay." Canadian Poetry: Studies, Documents, Reviews, No. 3 (Fall-Winter 1978), pp. 87-97. In this interview Dorothy Livesay talks about her life and the effect of her life's experiences on her writings. She attributes her early writing interests to the influence of literary parents: "... the whole atmosphere was one of writing." Even in her first poems she used free verse, finding it impossible to use standard forms. She speaks of her involvement at the Sorbonne in left wing politics and the resultant change in her "perspectives on literature and art." After a brief time of doing social work, Livesay traveled to revolutionary Africa, an experience which she found "a great psychic release ... to be close to these people who were changing their society." She explains the struggle she had in returning to her writing after the African experience and discusses some of the poetry that emerged.

C76     Carlsen, Jorn. "Dorothy Livesay: Interview." Kunapipi [Univ. of Aarhus, Aarhus, Denmark], I, No. 1 (Summer 1979), 130-34. A short, but informative, interview which concentrates on "the question of national identity" as a "dominant" force m modern Canadian literature and criticism. Livesay rejects the idea of nationalism being a "modern phenomenon." In her view, "the search for assertion of Canadian identity goes back one hundred years."

C77     Marshall, Joyce. "Dorothy Livesay: A Bluestocking Remembers." Branching Out, 7, No. 1 (1980), 18-21. Livesay reveals her feelings about being a woman. She compares her writing career to that of her mother: "Oh, she went on doggedly, but without any real support from her husband." She says that, overall, "young women today have gained ... much greater freedom to live as they choose, married or unmarried, with or without children."

C78     Twigg, Alan. "Matrona." In his For Openers: Conversations with 24 Canadian Writers. Madiera Park, B.C.: Harbour, 1981, pp. 129-37. Livesay speaks about her own writing and the state of Canadian literature: "This is an age ... of refraction." She feels it a positive trait that "poets are now part of popular art." Livesay is strongly against revision of early poetry, calling the practice "dreadful, sinful. Because that was the feeling at the moment and that's what made the poem." She feels that Canadian critics "have no vision" and that "Canadian women writers have been neglected." She is proud that she has helped to lay the foundation for current writers, but she has never felt that her poetry really belonged to her: "I am the vessel through which it comes."

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Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Articles and sections of books  

Ricketts, Alan (compiler)

C2     "Girl Wins Coveted Prize." The Evening Telegram [Toronto], 12 Jan. 1929, p. 21. A tribute to the winner of the Jardine Memorial Prize for "City Wife." The reviewer notes that Green Pitcher was favourably reviewed and quotes an anonymous member of the University of Toronto English faculty: "Miss Livesay's poetry is remarkable, not only for its freshness and spontaneity, but for a mastery of word values rarely found in the work of so young a poet."

C3     Collin, W. E. "My New Found Land." In his The White Savannahs. Toronto: Macmillan, 1936, pp. 147-73. Rpt. Literature of Canada: Poetry and Prose in Reprint, No. 5. Toronto: Univ. of Toronto Press, 1975, pp. 147-73. Collin indicates a sharp division between the earlier poetry in Green Pitcher and Signpost, and Livesay's writing in the Depression. The two earlier books reveal the influence of H. D., Emily Dickinson, and Elinor Wylie; in common with the two latter poets, "her emotion receives its final sanction in her mind." During the Depression, Collin argues, her imagery "must now adopt itself to an enthusiastic outlook on life. She has developed beyond her egocentrism to devote herself to a human cause." Approving of this shift, Collin offers an extensive analysis of "The Outrider" and of "Day and Night" as essentially dramatic poems in which the psychological activity results from a particularist view of society "and a kind of thinking correlative with that view." The use of new images, pantomime, dance, and negro spirituals in "Day and Night" is praised. Collin argues that "we cannot study this poetry, as we can study Pratt's, in a detached way, simply as art or as illustrating the invasion of industrial realism into poetry, because it speaks out with such resounding purpose; it sends out a call, it issues a challenge which may well give us pause."

C4     "Writing Too Obscure for Common Man: But New Hope for Canadian Poetry Held by Dorothy Livesay." The Calgary Herald, 17 April 1936, p. 16. RHLH. A summary of Livesay's remarks at a Calgary meeting, emphasizing her belief that modern writers, particularly T. S. Eliot, are "miles away from common man" in their poetry. Livesay also argues that the Depression made Canada a nation by concentrating attention on internal problems. The reporter describes Livesay as an "outstanding young Canadian writer" and comments that "her own work is vital and progressive in thought and expression."

C5     "Poetess to Reside Here." The Vancouver Sun, 6 May 1936, p. 14. Announces Livesay's plans to establish a western headquarters for New Frontier in Vancouver and to speak at a public meeting. Livesay is a member of a "well known family."

C6     Adeney, Marcus. "Poetry." Canadian Review of Music and Art, 1, No. 3 (April 1942), 13. An appreciation of "Prelude for Spring," published in this issue. The theme is "musical" and "the reader can pour his own experience into a waiting mould," creating a sensation which is analogous to listening to an orchestra. The effect is "metaphysical, no matter how direct the poet's initial purpose may have been."

C7     Brown, E.K. On Canadian Poetry. 2nd rev. ed. Toronto: Ryerson, 1944, pp. 70, 83-84. Rpt. Ottawa: Tecumseh, 1973, pp. 70, 83-84. Brown believes that Livesay's "special power" revolves "energy, fiery and at times smoky energy." In Day and Night, which contains "The best of Livesay's poetry," the rhythms "have a triumphant note even when the substance is resentful and protesting .... Miss Livesay's poetic world is not limited to ideas or to the problems of social organization -- nature, especially in its energy, makes a strong appeal to her, and she has found images to express this that stamp her as a poet of delicate as well as strong sensibilities."

C8     Smith, I. Norman. J. F. B. Livesay: A Memory. Ottawa: Mortimer, [1944], pp. 45, 50. Provides a description of her father's career and comments briefly on Dorothy Livesay's early life.

C9     Frye, Northrop. "Poets on the Home Front." Canadian Review of Music and Art, 3, Nos. 1-2 (Feb.-March 1944), 22. Livesay "early showed an unusually cosmopolitan knowledge of modern poetry," particularly of the French Symbolists and the American Imagists. Her earliest verse -- which was "descriptive and meditative" -- was followed by a period of "passionate and eloquent sincerity." "Day and Night" and "Lorca" indicate "the peak of her powers so far." Frye also notes her current tendency to wine poems "of a more romantic tendency, full of a sensitive imagery which often expands into symbolism."

C10     Anderson, Patrick. "Correspondence." The Canadian Forum, May 1944, p. 44. A response to Livesay's "This Canadian Poetry" (published in the April issue [B374]), which argued that Anderson and other members of the Preview group wrote verse revealing "bewilderment" and "imitation." Her article also attacked cosmopolitanism which had no reference to the native tradition. Anderson replied that she showed a "colonial" fear of cosmopolitanism, a provincial carping at those "derivations and early dependencies which are inevitable in young writers." He argued that foreign writers were much more statable as models than Canadians like Pratt, and suggested that Livesay "has really read little of our work." In July, Livesay answered, "If I betray a 'colonial' fear of cosmopolitanism, how is it that while those of Mr. Anderson's generation were attending English public schools, I was observing first hand the rise of fascism m France and Germany; and while they were being psychoanalysed, I was doing everything possible, through organization and through written poetry, to aid in the liberation of Spain?" She attacked the group's "preciosity of thought" and appealed for "mental honesty in poetry."

C11     "Portrait of a Poet: Introducing Dorothy Livesay." Quill & Quire, July 1944, pp. 29-30. Day and Night "will perhaps be more widely read" than A. J. M. Smith's News of the Phoenix or Earle Birney's David because "her social message is writ plain." Unlike Smith, she "does not feel the need to beshroud the social content of her poetry in baffling and sometimes faintly supercilious double talk." Since she writes both of actual conditions and of her own responses to them, "the objective and the subjective have achieved an unusually happy marriage in her verse."

C12     Weekes, Mary. "An Afternoon with the Livesays at Their Home in Clarkson." Saturday Night, 23 Sept. 1944, p. 33. Weekes describes the family estate as "a retreat from the scarred world" and comments on its flowers, books, and cedar beams.

C13     "New Westminster Poet Wins Governor General's Medal." Vancouver Province, 31 March 1945, p. 26. "Her work is virile, sometimes bitter, often beautiful and always eloquent."

C14   Middleton, J. E. "Governor-General's Awards for Literary Leaders of 1944." Saturday Night, 7 April 1945, p. 3. Livesay's insight "is keen, her feeling broad and deep, her expression precise, reticent and musical."

C15     Crawley, Alan. "Dorothy Livesay -- An Intimate Biography." Educational Record [Quebec], 61, No. 3 (July-Sept. 1945), 169-73. Rpt. in Leading Canadian Poets. Ed. W. P. Percival. Toronto: Ryerson, 1948, pp. 117-24. Crawley recounts his first meeting with Livesay in 1938 and describes her life m Vancouver during the war years with emphasis on the context of some of her poems. He refers to the "sensitive and lucent language" of her earlier work and describes the qualities of her poetry as "beauty of pattern and rhythm, fineness of imagery and allusion, strength of emotional concept and expression." These assets are combined with "disciplined and discerning observation, deep sympathy and understanding, from which, with skill and imagination, the poetry is drawn." Crawley also quotes Livesay's claims that she is both a public and private poet and that she is not obscure m comparison to other modern writers.

C16     Pratt, E. J. "Dorothy Livesay." Gants du Ciel, No. 11 (printemps 1946), pp. 61-65. Pratt traces a large development from the early verse (influenced by Emily Dickinson and Robert Frost) to her poems in Day and Night, which he describes as the best social poetry written by a Canadian. He makes the claim that this poetry is successful because she has combined the outrage and commitment of the British poets of the 1930s with the techniques of T.S. Eliot and Gerard Manley Hopkins.

C17     Weaver, Robert. "The Poetry of Dorothy Livesay." Contemporary Verse, No. 26 (Fall 1948), pp. 18-22. Weaver reviews her poetry up to 1948. "Some of the poems in Green Pitcher were clearly immature," but most were "youthfully fresh, pleasant, unpretentious." Livesay's verse in Signpost was "nervous, taut," and "more likely to spark briefly than to smoulder sensuously or burn with a violent roar." The love poems were distinctive and reached "towards identification with something outside of the self." Day and Night contains "radically new subject matter" because her social concern stresses "modern man's feeling of alienation," but also contains "hope of rebirth." This tension reveals the radical paradox -- "to affirm mass action as the means whereby the individual's identity would be restored"; Weaver argues that this paradox eventually disrupted the lively and inquisitive movements for social poetry in the thirties. Poems for People is "a tentative book," with echoes of Day and Night and "suggestions that a new development is beginning .... Today, it appears, she is again searching for signposts, to direct her beyond Day and Night."

C18     Scott, James. "Radio and Writers: West Coast Replies." The Telegram [Toronto], 27 Jan. 1951, p. 4. Scott indicates the nature of the long-standing dispute between Livesay, Earle Birney, and other Vancouver poets, and the Toronto-based directors of CBC literary programming.

C19     Pacey, Desmond. Creative Writing in Canada: A Short History of English-Canadian Literature. Toronto: Ryerson, 1952, pp. 112, 114, 133, 13538, 141, 146, 156, 191. Rev. ed., 1961, pp. 121, 124, 145, 147, 150, 185, 268. "Delicacy, restraint, and precision" are the qualities in Livesay's first two books. Her early poetry demonstrates "the influence of Imagist poets such as H. D. and Elinor Wylie, and of Emily Dickinson." The "stylized emotional cries" of her early verse turned, "in the thirties," into "social verse." The poems in Day and Night are "Bold and passionate," yet "they seem to me to generate more heat than light." In later works, particularly Poems for People and Selected Poems, "there is an attempt at a fusion of the personal and the social .... " Pacey concludes that "She has in her own verse exhibited the qualities which she has asked for in the work of others: objectivity, lyricism and passion."

C20     "Livesay, Dorothy Kathleen." Encyclopedia Canadiana, 1957. "Influenced by her close contact in France with Henri Barbusse's League of Revolutionary Writers, her later work shows a highly developed social consciousness, uses industrial themes and machine images, and adopts jazz rhythms."

C21     Pacey, Desmond. Introduction. In Selected Poems of Dorothy Livesay [1926-1956]. Toronto: Ryerson, 1957, pp. xi-xix. "Nervous intensity" is the most distinctive quality of her early verse. Pacey's compliance with Livesay's request to omit information about her Communist activities in the 1930s leaves a vague impression of her life during the Depression, but Pacey does comment on her current position as a "temporary plateau from which she looks down at life with fresh but sophisticated vision." He also discovers a "fascinating combination of innocence and experience, of hope and fear, of faith and doubt" in her recent work. "At its best, her poetry soars in ecstasy."

C22     Rashley, R. E. Poetry in Canada: The First Three Steps. Toronto: Ryerson, 1958, pp. 110, 111, 127, 130-32, 133, 138, 148, 152, 158. Livesay creates "a somewhat cold and intellectual realization of what is essentially an emotional attitude towards the contemporary world" in her social poetry.

C23     Steinberg, M.W. "Dorothy Livesay: Poet of Affirmation." British Columbia Library Quarterly, 24, No. 2 (Oct. 1960), 9-13. Steinberg observes that in Day and Night "the note of revolution was sounded more passionately than ever before in Canadian literature," but the stress throughout her career is upon the common thread, the "author's cherishing of life." Agreeing with the poet that she is both a private and a public writer, Steinberg adds that "in the most intimate experiences she recounts a universality that takes them beyond the merely personal, and in her 'public' poetry there is the same quality of intense personal response, an overwhelming sense of compassion and a ready identification of herself with the objects of her concern, that characterizes much of her earlier 'personal' poems." Her nature poetry is a separate, third area which is notable because of Livesay's early tendency to project herself into surrounding objects.

C24     Sylvestre, Guy, Brandon Conron, and Carl F. Klinck, eds. "Livesay, Dorothy (1909-)." In Canadian Writers: A Biographical Dictionary. Toronto: Ryerson, 1964, pp. 83-84. Rpt. in Canadian Writers/Ecrivain Canadiens: A Biographical Dictionary. Toronto: Ryerson, 1966, pp. 94-95. Bio-bibliographical details.

C25     Beattie, Munro. "Poetry (1920-1935)." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 729, 738, 740-41, 751, 753, 754, 765, 766, 785. 2nd ed., 1976. Vol. II, 251-53. Livesay's initial Modernism was no "more deliberate than to be unlike the Canadian poetesses of her mother's generation." "Fantasia" is the "most rewarding" poem, revealing "the communication of private sensations in precise images and delicately shifting cadences." Beattie asserts that "no Canadian poet of the past four decades has been more consistently loyal to the principle of organic form." Livesay has retained a "devotion to actuality," but fortunately "the sensitive reverberator has prevailed over the agitator" in her poetry since the 1930s.

C26     Barling, Ann. "New World of Poetry Catches Modern Tempo." The Vancouver Sun, 29 Jan. 1966, p. 28. Barling describes Livesay as the mare leader in the development of a poetry which has "moved out of the bedroom and off the printed page" to be "in the air now, vibrant and alive."

C27     Story, Norah. "Livesay, Dorothy (1909-)." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, pp. 465-66. Story provides biographical details and a brief summary of Livesay's poetic. Livesay's verse "is distinguished by interesting stanza forms, simplicity, and muted rhythms, and by the sincere passion in her poems of social protest."

C28     Wilson, Milton. "Dorothy Livesay." In Poets Between the Wars: E. J. Pratt, F. R. Scott, A. J. M. Smith, Dorothy Livesay, A.M. Klein. Ed. Milton Wilson. New Canadian Library Original, No. O5. Toronto: McClelland and Stewart, 1967, pp. 125-26. Brief biographical and bibliographical summary.

C29     Harvey, Bob. "Poetry: A Cry to Stave Off Evil." The Edmonton Journal, 14 Nov. 1969, p. 63. Harvey describes Livesay's role in the "Poet and Critic" conference held at the University of Alberta and expounds on her ideas that "a poem is a happening"; a poem is "the expression of an essence of an emotion m a rhythmic form" and "a cry" to "let out frustration, to express joy."

C30     Gnarowski, Michael. "Livesay, Dorothy." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 661-62. Rpt. [revised -- "Livesay, D(orothy)"] in Contemporary Poets. 2nd ed. Ed. James Vinson. London: St. James, 1975, pp. 919-23. 3rd ed., 1980, pp. 923-25. Gnarowski provides a brief description of the career of "one of the pioneers of modernism in Canadian poetry." Gnarowski believes that "the process of shifting literary and political orientation did not affect profoundly Livesay's basic style. She continued to write in simple and direct verse forms with variations in tone from the lyric and subdued, through the emotional and political, to the genuinely humane and passionate."

C31     Gibbs, Jean. "Dorothy Livesay and the Transcendentalist Tradition." Humanities Association Bulletin, 21, No. 2 (Spring 1970), 24-39. A detailed analysis of individual poems to prove that Livesay's impetus is a "search for a means of bringing her conflicting responses to life into some kind of reconciliation." The struggle is between the urge for self-sufficiency, which is identified with Thoreau, and a need to find a mystical fusion with man and nature, associated with D. H. Lawrence. The early poems show that human contacts are "threats to the sense of selfhood that comes to the poet through her empathy with nature," but she shifts (with maturity) to a desire to achieve sexual identity and a further mystical union with the procreative forces. Subordination to the will of a man "is the only way to communication with a larger order of things, to becoming one with the natural cycle." The analysis considers The Unquiet Bed to be the climax of her struggle because the "poet has achieved a nearly perfect understanding of the order of nature and her place in it."

C32     Stevens, Peter. "Dorothy Livesay: The Love Poetry." Canadian Literature, No. 47 (Winter 1971), pp. 26-43. Rpt. in Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 33-52. Stevens suggests a similarity between Livesay's early poetry in Signpost and the verses in The Unquiet Bed and Plainsongs. Although her social poetry includes "no mention of the problem of freedom for each individual" -- since "the question of the roles played in society by man and woman is not raised" -- the earlier and later poetry is concerned with love. In Signpost the "distance between people, in this case between lovers, is part of the poet's concept of love. She seems to be suggesting that union through love is only momentary and that it includes struggle for dominance." Complete union would lead to a vulnerable nakedness. The verse also reveals that "a poetry of real honesty is a defense against the loss of love, that by expressing it accurately, the poet can retain a good deal of the meaning and joy of the experience of love." Stevens finds that "honesty and candour are essential components" of the poems in The Unquiet Bed: "love must be her face, her essential self, her womanhood, with both its submissive qualities and its strength." Physical experience is "a release from physicality but, again, abysses, gaps and silences also define the nature of love." These later poems are "more compelling statements" because the poet and the woman are more mature. Stevens asserts that "the sequences of the love poems in The Unquiet Bed and Plainsongs are the most candid revelations of the experience of love as seen by a woman in Canadian poetry." Despite minor blemishes, "she is able to express her feelings immediately and yet objectively, so that she herself is subjected to the appraising and critical apparatus she uses in her own poetry."

C33     Leland, D. "Dorothy Livesay: Poet of Nature." Dalhousie Review, 51 (Autumn 1971), 404-12. Livesay expresses neither the English Romantic response to nature which characterizes the Confederation poets, nor the terror which Frye perceives to be the basic Canadian reaction. Unlike the earlier poets, she rejects dreams because the "creative Imagination is conscious, rather than a transcendent, dream-like experience." Although "she recognizes the threat m nature, she accepts it with realistic deliberation, and finds therein a source of creativity that incorporates both society and the individual imagination." A passive acceptance of nature is a "greeting," but a true interaction occurs in the "meeting" which derives from understanding through a bi-sexual perspective. Livesay "sings of mankind integrated with nature ..., of mankind surviving and growing only as they accept nature in all its facets. Once integrated in this way, mankind can sing their songs together, as man with man, as poet with reader."

C34   Stevens, Peter. "Out of the Silence and Across the Distance." Queen's Quarterly, 78 (Winter 1971), 579-91. The cohesion in Livesay's poetry comes "from tremendous interest in language, specifically in context, stress, pattern and imagery." Poetry itself is "a swaying form of control and letting go, of speech moving out of a layer of silence" which is made explicit in her themes. There is an emphasis on silence, darkness, and isolation, as evidenced in "The Outrider" and "Lorca." The latter figure is "moving out of silence and sterility., deadness and darkness." At times there is despair -- with no communication, but "art tries to catch the silent, the unspoken, the unexpressible."

C35     Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 242-43. Atwood mentions Livesay's Collected Poems in connection with Milton Acorn's I've Tasted My Blood, bill bissett's Nobody Owns the Earth, and Dennis Lee's Civil Elegies: "These are four extremely different poets, but all have two things in common: they connect individual oppression with group oppression and individual liberation with group liberation, and they connect social liberation with sexual liberation; or to put it another way, social liberation means Nature no longer has to be dead or a monster."

C36     Reference Division, MacPherson Library, Univ. of Victoria, B.C., comp. "Livesay, Dorothy* 1909- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. II. Toronto: Univ. of Toronto Press, 1972, 167-68. Bio-bibliographical details.

C37     Hazel, Kathryn. "Longing Novelist Became Persistent Poet." Victoria Colonist, 8 Nov. 1972, p. 23. The article, based on an interview, reports that Livesay would have become a novelist rather than a poet if there had been a market for Canadian fiction in the 1920s. It also includes the comments that her parents arranged for the publication of Green Pitcher, that "artists should suffer," and that there is a shortage of WASP ethnic writing in Canadian literature.

C38     "Dorothy Livesay." Manitoba School Library Audio-Visual Association Newsletter, 2, No. 2 (Nov.-Dec. 1972), 37-44. A brief evaluation based on existing criticism. Includes a short bibliography compiled from reference works and the Canadian Periodical Index.

C39     Gnarowski, Michael. "Livesay, Dorothy (McNair) 1909- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 73-74. Rev. ed., 1978, pp. 84-86. Bibliographical listings.

C40     S[tevens]., P[eter]. "Livesay, Dorothy (1909- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 215-16. Brief biographical and critical comments. The "gnomic fragments" comprising the "subject-matter and technique" in Green Pitcher are "used more elaborately and successfully in Signpost ...." The "new freedom for Dorothy Livesay as a poet and as a woman" emerged in The Unquiet Bed and Plainsongs.

C41     Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 71, 125, 131, 148, 150, 177. Brief mentions.

C42     Davey, Frank. "Dorothy Livesay." In his From There to Here: A Guide to English-Canadian Literature Since 1960. Vol, II of Our Nature -- Our Voices. Erin, Ont.: Porcepic, 1974, pp. 168-72. "Dorothy Livesay is one of the most important Canadian poets of the last half-century. She successfully kept alive the direct and colloquial Heraclitean tradition in Canadian poetry throughout the thirties." Davey features her -- at the expense of "academic" poets -- as a precursor of the poetry of the 1960s. Her social poems are "somewhat less powerful" than her earlier work "because of conventionality in form and an occasional tendency to slip into the jargon and rhetoric of left-wing politics," but the themes and styles of Green Pitcher foreshadow the concerns and methods of the present. Poems in The Unquiet Bed and Plainsongs "possess a delicacy of image and a frankness and directness of language. Imagery from the cosmic world which Livesay cherishes is used to convincingly evoke the natural and proper beauty of surrender to sexuality."

C43     Zimmerman, S. "Livesay's Houses." Canadian Literature, No. 61 (Summer 1974), pp. 32-45. Zimmerman discusses Livesay's use of the house as both concept and symbol. For Livesay, the house and hearth are synonymous, and "the woman is the keeper of the hearth." But even "as a young girl, she must choose whether to accept this role." Zimmerman examines the way in which characters in Livesay's poetry reveal themselves in relation to this choice. In short, the choice is one between "digging in one's garden (intimately associated with houses throughout the poetry)" or of "following 'the flight of the crows' (who lead an uncertain but free life ....)" Livesay's development as a poet is symbolically expressed by her protagonists' desire to move away from their houses. "Though she leaves the house," the representative Livesay persona nevertheless "belongs to it." After the war, Livesay's houses become symbols of "uprooting," though the "personal and sexual" implications of Livesay's house symbolism remains. Livesay deals with her life choices by making "a truce with the house": "she is concerned with reaching a compromise." This compromise, "most clearly stated in 'Woman Waylaid,'" reinforces Peter Stevens' view that the protagonist "makes her choice as individual woman and she is free to make that choice." Finally, with the approach of old age, the house "becomes a vantage point from which she [Livesay] observes the world." Ultimately, Livesay's life (and by implication, the life of her characters) "can be summarized by a list of houses" and the perceivers who inhabit them.

C44     Mitchell, B. "How Silence Sings in the Poetry of Dorothy Livesay." Dalhousie Review, 54 (Autumn 1974), 510-28. A detailed analysis of Livesay's poetry, and of the thematic and stylistic impulses accounting for Livesay's development as a poet. The Collected Poems creates a "psychic autobiography" of Livesay's life as a poet, but it also provides "a record of the changing techniques fashionable in Canadian poetry over the last forty-six years." Livesay's poems are best seen in terms of three distinct groups which represent the "psychic stages" of her life: the first group includes the earliest poems and "reveal a sense of growing self-awareness and concomitant sense of mystery; those in the second group, a sense of the collective 'other' and an awareness of social dis; those in the third, a mature realization of the 'separateness' of the self, an almost pagan exultation in nature and sexuality, and a passionate desire for fulfillment." In the first group, Livesay's emphasis on silence and the absence of silence provides the tension which accounts for "the gradual progress from sensitive adolescence to equally sensitive young womanhood, and a change in focus from the physical world to that of man." The second group of poems, "written during the poet's 'middle period' when she was between thirty and forty," are "the least satisfying poems" in Collected Poems because they are "public," rather than "private"; since Livesay is "naturally a 'private' poet," her "'public' voice sounds contrived." In these poems "the image of silence is rarely used" because "the situation m which the poet finds herself is chaotic and frenzied." As the third phase approaches, the "psychic autobiography" reveals the poet in the role of mother. "[T]he reader senses that the peace implicit in these poems comes not only from this role but also from the poet's having found, for at least a time, someone with whom she could share her experiences .... " Ultimately, however, this vision of peace is shortlived: "the sensitive and intelligent young woman searching for a way in which to reconcile her 'separateness' with her desire for 'unity'" becomes "the mature woman 'bleeding' from her 'jumbled' and 'fumbled' life." In the end, "She is betrayed by her body and 'no yesterdays come back.'"

C45     O'Donnell, Kathleen. "Dorothy Livesay and Simone Routier: A Parallel Study." Canadian Humanities Association Journal, 23, No. 4 (Fall 1974), 28-37. The author concludes that "such a brief juxtaposition of the writings of these two admirable poets may accomplish little in its present form."

C45a     New, W. H. "Canadian Literature and Commonwealth Responses." Canadian Literature, No. 66 (Autumn 1975), pp. 14-30. New examines Livesay's African poems in the context of "how the discovery of Africa or Asia contributes to the progress of the literary mind." He argues that Livesay's African poems contain a response comparable to those of Audrey Thomas and Margaret Laurence -- "one that grows out of arid contributes to the poet's own developing point-of-view."

C46     Colombo, John Robert. "Livesay, Dorothy (b. 1909)." In his Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, p. 303. Bio-bibliographical details.

C47     Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 107, 113-14. "Both Green Pitcher (1929) and Signpost (1932) are in the 'Confederation' tradition, while Day and Night (1944) seems a gentle woman's hope of what the working man's life might aspire to, rather than a poetry of and by the working man."

C48     Moyles, R.G. English-Canadian Literature to 1900: A Guide to Information Sources. Detroit: Gale, 1976, pp. 54, 91. Bibliographical listings.

C49     Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed., 1976. Vol. III, 307-08. Livesay "has created what is virtually a second life in poetry" in recent years. The Collected Poems indicate a progression "from the social to the personal, but accompanied by the radical change in her poetic style." He adds that "more than any other of the established poets, Dorothy Livesay rose in stature from 1960 onwards; the awkwardness of much of her early verse was purged away."

C50     Arnason, David. Introduction. In Right Hand Left Hand. Ed. David Arnason and Kim Todd. Erin, Ont.: Porcepic, 1977, pp. [11-15]. Arnason provides a brief history of "Canadian writing from the perspective of the political left" and places Livesay, along with Raymond Knister, A. M. Klein, and F. R. Scott, as a writer who countered the literature of the thirties, a literature which was "escapist" and "filled with pathos and bad grammar." Arnason also discusses Livesay's role in the founding of the Progressive Arts Club and its journal, Masses, and her later involvement as an editor of New Frontier. Right Hand Left Hand provides evidence of the efforts of "The Canadian Left," and attempts "to make known an important part of our literary heritage through the eyes of an active participant and sensitive poet."

C51     Foulks, Debbie. "Livesay's Two Seasons of Love." Canadian Literature, No. 74 (Autumn 1977), pp. 63-73. A feminist approach to Livesay's work. The article focuses on the inadequacy of sexual roles as revealed in Livesay's poetry. Livesay begins with an "obsessive reliance on the conventional sex roles," but is troubled by "the destructive effects of these stereotyped patterns of love relationships." In the post-war years "love serves to assuage the anxiety and agony occasioned by more terrible tragedies and imminent dangers"; her "former self-effacement is replaced with pride," and she "has become hardened, even cynical" in more recent work. The later poems reveal a "somewhat demeaning and self-conscious approach to love," but her "opposing visions of love" -- as a "cage" and as completion -- "are never fully realized."

C52     Geddes, Gary, and Phyllis Bruce. "Dorothy Livesay." In 15 Canadian Poets Plus 5. Ed. Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 392-93. A short summary of Livesay's major concerns. Livesay has been involved in "a series of transformations, from her earliest imagist and symbolist lyrics," through her "activist 'agit-prop' writings of the forties and fifties," to her "confessional and feminist writings of the sixties and seventies." The central struggle in her art centres on her need for "privacy and her need for community." Geddes and Bruce go on to discuss the Realist impulse behind much of Livesay's work, and suggest that her theories about the documentary poem are linked to this Realistic impulse. Although "her recent work has been more stridently feminist in its utterances, Livesay has always been concerned with the role of women in society." The critique concludes by suggesting that Livesay's interest in poetry is in large part derived from her parents, "who were literary people and active in the field of journalism." Provides brief bibliographical citations.

C53     Mathews, Robin. Canadian Literature: Surrender or Revolution. By Robin Mathews. Ed. Gall Dexter. Toronto: Steel Rail, 1978, pp. 60, 125, 183. Passing references to Livesay.

C54     McClung, M.G. Women in Canadian Life: Literature. Toronto: Fitzhenry and Whiteside, 1978, pp. 36-38, 39, 42, 64, 70. Bio-bibliographical details.

C55     Stevens, Peter. Modern English-Canadian Poetry: A Guide to Information Sources. Detroit: Gale, 1978, pp. 2, 3, 13, 14, 19, 26, 30, 34, 36, 43, 46, 67, 69, 70, 71, 74-77, 95, 103. Bibliographical details.

C56     Nowlan, Michael O. "With Freshness Is a Leaf." The Fiddlehead, No. 119 (Fall 1978), pp. 5-6. A tribute to Livesay on the fiftieth anniversary of the publication of Green Pitcher. Nowlan suggests that she has created a world of experiences "through her constant desire to 'discover and unriddle' the world around her." She "has championed the cause of Canadian literature during the years when the subject was anathema" and continues to be an important figure: "her presence stimulates; her spirit challenges; her devotion inspires."

C57     Weaver, Robert. Editorial. The Tamarack Review, No. 75 (Fall 1978), pp. 5-7. A fiftieth anniversary tribute to Livesay and Morley Callaghan. There have been "two seasons" in Livesay's work -- "the public and the private poetry." Green Pitcher's poems are "notable for that youthful freshness that seems from this distance to have been one of the abiding characteristics of so much writing in the 1920's." Right Hand Left Hand is praised as "a partial and passionate view of what was a passionate decade in Canada as well as in other countries."

C58     Hughes, Kenneth J. Introduction. In Voices of Discord: Canadian Short Stories from the 1930s Ed. Donna Phillips. Toronto: New Hogtown, 1979, pp. 39-40. Brief comment on "Case Supervisor" (B339).

C59     Marshall, Tom. Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. xiii, 18, 29, 39, 43, 46, 50, 51-53, 76, 78, 83, 171, 179. Marshall traces the development of Livesay's career and suggests that her work is part of a Canadian tradition that extends to such contemporary poets as Miriam Waddington, Margaret Atwood, and Gwendolyn MacEwen. Livesay is "the original earth-mother of modern Canadian poetry .... Her work, can be read, then, as a correlative to the rational masculine bias of many of the earlier writers and as an exploration of the female nature of Canada and the Canadian psychology."

C60     Givens, Imogen. "Raymond Knister -- Man or Myth." Essays on Canadian Writing, No. 16 (Fall-Winter 1979-80), pp. 5-19. A controversial article by Raymond Knister's daughter which questions the validity of Livesay's suggestion, in "Raymond Knister: A Memoir," that Knister committed suicide. (See Az6 and B377.)

C61     Dykk, Lloyd. "A Gallant Poet Speaks Her Mind." The Vancouver Sun, 11 Sept. 1981, pp. L40-L41. A personal and professional profile. Livesay's poetry runs a gamut of "anguished songs of old age," "sexual candor and explicit longings," and social and political commentary. She has "the art peculiar to the art of old age -- to say the most with the least, to crystallize meaning with a glacial concentrated beauty." Livesay has always held certain tenets: " 'that the world must rid itself of war, that women could play a greater part in changing society; that men and women must come to a closer understanding; that even though capitalism has lived so long, it has done nothing but create wars.'" In Right Hand Left Hand, she notes her " 'Chinese approach -- art is a weapon for changing the world .... Very few poets today are what you'd describe as engage .... They're all concerned with technique .... What is post-modernism? Anyway, it was done in the '20s.'" "She reminds such bourgeois that in all the desperate times in history the poets have spoken out, and our times are more desperate than any heretofore."

C62     Drabek, Jan. "Poet's Article Shows Her to Be Dupe of Moscow." Letter. The Vancouver Sun, 21 Oct. 1981, p. A5. In her discussion of the writer's lot in the U.S.S.R., in "An Excursion into Understanding" (B432), Livesay "unquestioningly accepts the official propaganda of a totalitarian regime" and "greatly clashes with the findings of those of us who have lived, studied, or written on both sides of the Iron Curtain ...." Drabek points out many political and cultural omissions and errors in relation to writer's cultural organizations and the policies of the Canadian Embassy, as well as her omission of "the imprisoned or exiled dissidents -- many of them writers like Ms. Livesay ...."

C63     Thompson, Lee Briscoe. "A Coat of Many Cultures: The Poetry of Dorothy Livesay." Journal of Popular Culture, 15, No. 3 (Winter 1981), 53- 61. Several Canadian writers demonstrate "an acquaintance with more than one culture," but Livesay has "ventured into more than one 'alien' segment of the Mosaic ...." It is this "ongoing sensitivity to Canada's multiple cultures" that provides an Important key to understanding Livesay's varied writing. Livesay's multicultural impulses can be traced to her childhood in Winnipeg, a place "which is an intensely multiethnic patch in the cultural quilt of the prairie provinces." Later, the Depression prompted Livesay's "interest in the common man," an interest which, combined with her "multicultural and multiracial experiences of Montreal and New Jersey," allowed her to create "Day and Night," which is "regarded by many as one of her best poems,...." Geography and relocation have been major factors in Livesay's expanding consciousness of the "other" in the shifts in subject matter which accompanied her moves from British Columbia (in the mid 1930s), to London and Paris (in the 1950s) to Africa (in the early 1960s). "More recently there has been a return in Livesay's writing to poetic notations on our native peoples .... " In summary, one can find in Livesay's work "the model for three artistic and creative ways to deal with a multicultural situation." First, she stresses "frank poetic commentary." Second, she celebrates "the richness of diversity." Third, she seeks out "those elements which connect and unite us." Ultimately, the perceptions Livesay arrives at reach "far beyond Canada's problems of multiculturalism to the global ties ...."

C64     Hawkes, Cheryl. "Poet's Progress." Starweek Magazine [Toronto Star], 13-20 March 1982, p. 9. A blurb for the CBC Spectrum show, "Dorothy Livesay: The Woman I Am." "Sometimes irascible, always irreverent and never one to navel gaze, Livesay laid much of the groundwork for Canada's contemporary poets and feminists." The 1980s "demand some response from the literary community." Hawkes briefly sketches Livesay's career as a writer and with various politically and culturally active unions, leagues, and committees. Livesay notes that Margaret Atwood's Survival omitted the Depression poets because their work was too "'international'" and did not reflect the "Canadian tradition of vicimization and failure "

C65     Grimbly, Susan. "Field Notes: Livesay's Life." Books in Canada, May 1982, pp. 3-4. Basically a review of David Tucker's television profile, The Woman I Am (C79), Grimbly outlines what Tucker has included in his "tribute that is long overdue" and notes that Livesay's reputation has been helped by the women's movement, "yet she still is not widely known outside her literary circle." "Strong statements are Dorothy Livesay's trademark. The capitalistic system that caused the Depression, the arms race, and the 'men-only' cast to society have all drawn her outspoken criticism; ... but ... Dorothy Livesay has also developed a greater understanding of life."

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Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Awards and honours  

Ricketts, Alan (compiler)

C81     MacDougall Prize of the Poetry Group of the Montreal Canadian Authors Association for "Impuissance" (B11) (1928).

C82     Jardine Memorial Prize at University of Toronto awarded for the poem "City Wife" (B24) (1929).

C83     Governor-General's Award for Poetry for Day and Night (A3) (1944).

C84     Governor-General's Award for Poetry for Poems for People (A4) (1947).

C85     Lorne Pierce Medal of the Royal Society of Canada for a significant contribution to Canadian literature (1947).

C86     President's Medal for the poem "Lament" (B137), University of Western Ontario, London, Ontario (1954).

C87     Awarded a Canada Council Fellowship to study Creative Methods of Teaching English at the University of London (1958).

C88     D.Litt., University of Waterloo (1972).

C89     Made an Honorary Fellow of St. John's College, Winnipeg, Manitoba (1976).

C90     Canada Council Senior Arts Grant (1977).

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Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Book  

Ricketts, Alan (compiler)

[underbar]

Book

C1     Dunn, Margo, Janice Pentland-Smith, Gayla Reid, Helene Rosenthal, Gail van Varseveld, Eleanor Wachtel, and Jean Wilson, eds. Dorothy Livesay Issue [Room of One's Own, 5, Nos. 1-2, 1979]. 127 pp. This special issue of Room of One's Own is a collection of critical essays and appreciations that also includes poems, sketches, and essays by Livesay. Livesay's works, "Ambivalences" (B421), "At the Back of My Mind" (B422), "At the World's End: Where I Am Now" (B423), "Diary Notes (May/June 1979)" (B424), "Doctors" (B425), "The Enchanted Isle: A Dialogue" (B279), "Leftovers" (B426), "No Rape" (B427), "Not on My Verandah" (B428), "An Open Letter to Marsha Barber" (B545), "The Secret Doctrine of Women" (B280), and "Voices of Women: A Suite. My Source [B287], In Times Like These [B285], Mon Semblable, Mon Frere [B286], Nothing Is Private [B288], Reversals [B289], As You Get Older [B282], Cynic [B284], Bus Trip [B283], The Origin of the Family [B273], Apocalypse (On hearing how the archaeologists found 'Lucy') [B281], The Tears of Women [B291], and Self-Portrait: The Androgyne" (B290), are separately listed in Section B. The critics include Marsha Barber, "An Interview with Dorothy Livesay," pp. 13-34; Sharon Nelson, "An Occasional Poem for Dorothy Livesay's Birthday," pp. 115-16; Barbara Pentland, "Dorothy Livesay: A Memoir," pp. 46-45; Joyce Whitney, "Death and Transfiguration: The Mature Love Poems of Dorothy Livesay," pp. 100-12; Jean Wilson, "Introduction: Travelling Lives," pp. 5-12; and George Woodcock, "Sun, Wind, and Snow: The Poems of Dorothy Livesay," pp. 46-62. In talking with Marsha Barber, Livesay speaks openly about her ideas on religion, ageing, and sex. She evaluates her own identity in Canadian literature, calling herself a "resource" because of her longevity. "My poems all fall into different patterns of formalism .... [E]ven though the forms have changed quite a lot the content is very steady .... I was always affected by the times." Her ideas on "the state of the Canadian literary scene" centre on the lack of literary criticism by women. Barbara Pentland, Manitoban composer, recalls meeting Dorothy Livesay on a ship returning from Paris in 1930, and reminisces about the development of their friendship until 1976, when she set the seven poems of "Disasters of the Sun" to music. Whitney lauds Livesay's "mature love poems," and discusses her "spiritual evolution.., from the music of first love to the stillness of fulfillment." Whitney's mare theme concerns Livesay's use of a death-life-love relationship in her love poetry. The "imagery of death ... shift[s] in its meaning over the years," from "a wish to escape from the prison of the body," to "fear of life," to death as another "good" experience in life. Love becomes "a peaceful interlude from the constant motion of life ..., a sickness that enfeebles the sufferer ..., a complete surrender of the self, comparable to the surrender made to death." Whitney emphasizes also the analogy of the climax of love-making and giving birth: "... from this effort comes a dreamy, healing peace which makes the poet whole." Livesay's mature love poems make sexual love part of "the equilibrium between life and death." Wilson writes an introduction for "the special Dorothy Livesay Issue of Room of One's Own." She traces parts of the life and writings of Livesay: "Dorothy Livesay ... has been writing poetry -and prose -- since she was a young girl .... Fifty odd years have seen the publication of many volumes by Dorothy Livesay, two of them Governor-General's Award winners ... [She was] also the winner In 1947 of the Royal Society of Canada's Lorne Pierce Medal ... and since then has received numerous honours .... Dorothy Livesay is a woman always alert to new experiences and new people." Livesay's "zest for living and her personal, direct voice m poetry and prose ... [have] wide appeal .... All her life Dee has dared to live by her own standards, politically, socially, poetically. Dorothy Livesay has an Important place in Canadian literature, as a poet with a compelling voice but even more so as a woman writer." Woodcock argues that "Dorothy Livesay is the best poet writing in Canada today." Her writing has gone through "stages of development emerging naturally from each other .... It is a development in which elements of ... insight, perception, authenticity of expression [have] common veins running from beginning to end and twining together into a central cord of vitality .... " The central cord of vitality becomes Livesay's life, and the veins are Livesay's "social awareness, .... extraordinary honesty," and a "sense of the dual nature of existence." Woodcock praises Livesay's "sensitivity to issues which in the long run are as much social as personal .... I can think of no poet among my contemporaries anywhere who has written more tellingly and authentically on the experience of growing old .... " Livesay's sense of duality is seen in works that express the difference "between what we seem and what we are." Woodcock correlates Livesay's creative development with her life, her influences at different times including Keats, Dickinson, and Wordsworth. "Changes in the nature of a poet's creativity are not so easy to document as change in intellectual attitude .... I see the change beginning with the New Poems ... [but] nowhere are the virtues that Dorothy Livesay has developed as a poet more happily combined than in ... Ice Age."

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Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Films  

Ricketts, Alan (compiler)

C79     Tucker, David, dir. The Woman I Am. Toronto: Film Arts/D.L.T. in Association with the Canada Broadcasting Corporation [1981].

C80     "Dorothy Livesay's The Woman I Am." Spectrum. CBC TV [Toronto], 17 March 1982 (60 min.). Rebroadcast CBC TV [Wingham and London], 21 March 1982 (60 min.). A profile of Livesay's life and work in the poetic and political fields. Modern poets put poetry on a "metaphysical pedestal. They don't get down to any nitty-gritty at all. They're retreating into fantasy and science fiction and self-exploration and not looking at the world." Poetry should be written in common language. "I never struggle, never force a poem. It just comes out." Livesay discusses the "great revelation" and "release" when she discovered that W.H. Auden, Stephen Spender, and C. Day Lewis wrote poetry "that would change the world. They convinced me that I could and should write poetry that had meaning." "My work is rooted in this country." "Yet the whole world must be embraced." Margaret Atwood's Survival was "a great blow to me." "It was disgraceful for a critical book to leave out a whole era of Canadian poets" because they did not reflect the Canadian tradition of victimization and failure.

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Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Theses and dissertations  

Ricketts, Alan (compiler)

C66     Beattie, A. M[unro]. "The Advent of Modernism in Canadian Poetry in English, 1912-1940." Diss. Columbia 1957. The stress is upon the McGill Group. Any comments of interest on Livesay are included in Beattie's chapter of the Literary History of Canada. (See C25.)

C67     Schultz, Gregory Peter. "The Periodical Poetry of A. J. M. Smith, F.R. Scott, Leo Kennedy, A.M. Klein and Dorothy Livesay, 1925-1950." M.A. Thesis Western Ontario 1957. Schultz argues that "like the Seventeenth-century Metaphysicals and like Emily Dickinson, Dorothy Livesay presents abstract ideas and emotions in concrete images." No real evaluation of her poems is made, although Schultz does make the misleading assertion that she should be considered as a member of the McGill Movement.

C68     O'Donnell, Kathleen. "Dorothy Livesay." Diss. Montreal 1959. O'Donnell describes Livesay as "one of the most considerable poets of the age" and argues that "her poetry generally concerns either the developments in her own personal life or her interpretation of national or world affairs."

C69     Stevens, Peter. "The Development of Canadian Poetry between the Wars." Diss. Saskatchewan 1968. Stevens describes Green Pitcher as a book of "sombre contemplation" with only "generalized" landscape. Signpost offers "no great advance." "Spain," a 1930s poem, is "hysterical" in tone, and Livesay suffers from the general limitation of the period: "Canadian poems of this period generally tend to adopt a matter-of-fact reportorial tone and deal with specific Canadian and world problems in rather simplistic terms."

C70     Boylan, Charles. "The Social and Lyrical Voices of Dorothy Livesay." M.A. Thesis British Columbia 1969. This thesis includes material on the radical contexts of some of her poetry. Livesay has "never been an ideological innovator. She has responded to events emotionally, almost intuitively, directed by her generally humanist democratic values." Boylan believes that even Green Pitcher contains "a quivering, sensitive spirit of an outsider," but he is disappointed that she returns to this mode (rather than retaining her radicalism) after the Depression. "Call My People Home," for example, is considered to be flawed because it lacks a radical perspective. Boylan includes valuable correspondence and an interview with Livesay on the concerns of the thesis. "Jim" Watts (an associate in the 1930s) and Alan Crawley are also interviewed.

C71     Wood, Susan Jane. "The Poetry of Dorothy Livesay: 1928-1975." M.A. Thesis Concordia 1977. A discussion of Livesay's career from Green Pitcher to Ice Age. Wood perceives the usual shifts in attitude and interest during these years, but also stresses "two major consistencies." "Stylistically, she has always treated poetry as music, song and dance. Thematically, Livesay has dealt with the silence and isolation of the individual versus the collective activity and dynamism of society."

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Part 2 Works On Dorothy Livesay; Selected book reviews; 40 Women Poets of Canada  

Ricketts, Alan (compiler)

D91     McDougall, Anne. "The Trouble with Hen Parties ...." Time [Canada], 11 March 1972, p. 14. "The arrangement has the unfortunate effect of a hen party .... It remains an interesting collection, however, and gives the reader another look at a wide range of poems that have appeared in little poetry magazines or solo collected works. The overall impression is of intense, personal, up-close writing. With very few exceptions -- Atwood, Page, Brewster -- the poems are wry, agonized, despairing. The subjects chosen are suffering, dark, hurt, lonely. There is very little joy. One wonders why .... Altogether, however, the poems dart away from each other and do not benefit from being collected together. Which has always been the trouble with hen parties!"

D92     Engel, Marian. "Other Voices Other Rimes." Books in Canada, Oct. 1972, pp. 32-33. "The editing is particularly good. Even from poets who are best known for Canadian-Nature writing, Dorothy Livesay chooses the hardest, darkest poems, the not-necessarily feminine. There are tough and amusing conceits ... and new voices and old songs."

D93     Vernon, Lorraine. "Forty Women Poets Redress Balance." The Vancouver Sun, 13 Oct. 1972, p. 37A. "Forty Women Poets is the first book of its kind in Canada" and "could be called a milestone in publishing." Vernon says that Livesay's reason for producing the anthology, that "women were not adequately represented m anthologies," is correct and notes the few women included In the major Canadian anthologies. Most of the review is devoted to Vernon's appreciation of the poets included. At the end, she notes, "If I'm expected to make a criticism, it's only this: the Contributors' Notes could have been longer, more explicit."

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Part 2 Works On Dorothy Livesay; Selected book reviews; A Winnipeg Childhood  

Ricketts, Alan (compiler)

D79     Grosskurth, Phyllis. "A Puzzle, Why Not Simply Drop the Mask?". The Globe and Mail, 29 Sept. 1973, p. 33. Grosskurth wonders why Livesay seems deliberately to "distance herself from her material." A symbolic pattern is weakened by "impersonality" and "we never penetrate the inner life of the child to any depth." The "cryptic, throwaway" remarks have more force in poetry than prose. Livesay leaves the impression of "not being particularly interested in her childhood."

D80     Rapoport, Janis. "Winnipeg Childhood." The Tamarack Review, No. 61 (Nov. 1973), p. 76. Rapoport praises the use of the young girl -- Elizabeth -- as the centre of perception in the novel because the method allows revelation of "the sensitivity, the primal innocence gradually being transformed" during childhood; "and by implication the social and moral prejudices that somehow work their way through into the adult mind stand out in relief against the child's initial naivete."

D81     Stephens, Donald. "Words and Music." Canadian Literature, No. 60 (Spring 1974), pp. 93-95. Stephens finds "countless levels of nuance" which "radiate from the understated themes of these stories." The use of the child allows Livesay to present a less constricted vision than in an autobiography. Stephens also comments on the incidents which "express the frightening sense of separateness, and of the ultimate uselessness of communication."

D82     Harrison, R. T. Rev. of A Winnipeg Childhood. World Literature Written in English, 13 (April 1974), 272-74. The form of "the fifteen short pieces that make up the book are personal, more intimate with human geography than with physical geography. I hesitate to call them stones because their form is essentially lyric, the overall narrative connections loose, the dialogue often weak, the dramatic possibilities undeveloped." But "By the end of the book we begin to see what we have read m a different light. The separate sketches of Elizabeth's life are often unremarkable in themselves, but by the way they reflect upon each other they develop an increasingly convincing impression of an unusually wise and sensitive child."

D83     Watt, F.W. Rev. of A Winnipeg Childhood. The Canadian Forum, April 1974, p. 39. "The book makes no demands on us except to be enjoyed for its freshness, its nostalgic charm, its insights into human nature, and its eloquent central fiction: a child's passage from innocence to experience, from the comforts of mothering homes towards the wilderness of adult vision where there may only be rain for roof and wind for walls." Watt suggests that "we may, if we know Dorothy Livesay's work, hear a hundred echoes of her poetry and understand the better how that poetry came to be."

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Part 2 Works On Dorothy Livesay; Selected book reviews; Beginnings: A Winnipeg Childhood  

Ricketts, Alan (compiler)

D84     Duncan, Chester. "Beginnings." Journal of Canadian Fiction, No. 19 (1977), pp. 124-25. "[E]verything in this book has the glow of redemption .... [E]verything is washed, seen, recognized, and coloured by good diction and control." The book also has "a substance that gives nourishment and interest to the text no matter what the theme or fancy .... "

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Part 2 Works On Dorothy Livesay; Selected book reviews; Call My People Home  

Ricketts, Alan (compiler)

D24     Marriott, Anne. "The New Crop of Chapbooks." Contemporary Verse, No. 34 (Spring 1951), pp. 18-20. The book has "significance and occasional hard emotional impact," but it also "bogs down in prosaic expressions of fact and never gets back onto good poetic ground" In the title poem. Marriott prefers the shorter poems which "do more than merely convey meaning" because they "enlighten our imaginations and provoke our emotions into new patterns and flows of their own."

D25     Frye, Northrop. "Letters in Canada: 1950. Poetry." University of Toronto Quarterly, 20 (April 1951), 259. Frye finds that the lyrics sometimes have "a crackle of wit" which can throw "smoke instead of a spark." The book is "written with close sympathy and a dry, unlaboured irony, and in a taut, sinewy narrative style with no nonsense about it."

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Part 2 Works On Dorothy Livesay; Selected book reviews; Collected Poems of Raymond Knister  

Ricketts, Alan (compiler)

D90     Crawley, Alan. "The Red Heart and Raymond Knister." Contemporary Verse, No. 31 (Spring 1950), pp. 20-22. Livesay's biographical sketch is "excellent," but "it is unfortunate that the editing of the poetry had not been more rigorous, and that some of the short stories which are so little known had not enlarged this book." Crawley concludes "I am unable to agree with the Smith-Livesay-Kennedy tributes and estimations" of Knister's importance in Canadian poetry.

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Part 2 Works On Dorothy Livesay; Selected book reviews; Day and Night  

Ricketts, Alan (compiler)

D9     M[acKay]., L[ouIs]. A. "Day and Night." Contemporary Verse, No. 10 (April 1944), pp. 15-16. The volume is exhilarating because it is "the autobiography of a conviction." MacKay finds "a more certain touch, and a broader movement than in either of her earlier collections"; this is combined with a new "intelligibility" of style. He argues that the central fact in the book is not the Depression, but the war, which is viewed by Livesay as "a struggle of human liberation."

D10     Middleton, J. E. "The Current Manner of Poetry and Dorothy Livesay's Art." Livesay "uses dissonances with a purpose; as a reflection of the life she sees and knows," but also retains "a facile command of the older manner as well" -- using traditional techniques. He stresses her "insight" and notes that "in the whole book ... there isn't a cheap or offensive line."

D11     Avison, Margaret. "Books of the Month." The Canadian Forum, June 1944, p. 67. Avison maintains that "If you Insist on a black-and-white dichotomy you are sacrificing the Integrity of your vision." The serious themes are "uneasily vulnerable" because "the ridiculous is never hidden in her sublime."

D12     King, Amabel. "Reviews." Canadian Poetry Magazine, 7, No. 4 (June 1944), 41-42. Livesay is described as "the proletarian poet par excellence," who "has struck out in her own anger and despair at the conditions which change too slowly in a world she must live in and endure." Her poetry is "obviously a revolt against emotional romanticism."

D13     Clarke, George Herbert. "New Canadian Verse." Queen's Quarterly, 51 (Summer 1944), 227. Clarke attacks the "often noisy and even clangorous" social verse and praises the "quieter, finer and, we think, wiser" tone m descriptions of nature. "At times, because a true poet governs them, the two chords merge into a moment's harmony, but her control of intention and material is not constant: an angry declaimer interrupts her and song withers into speech."

D14     Scott, F. R. "Day and Night.'" First Statement, z, No. 10 (Dec.-Jan. 1944-45), 23, 24. Livesay is "a part of our world that is in the making," but "the varied, free, occasionally sentimental style that we have known in Miss Livesay's writing" is "a form more suited to her sensitivity and her personal utterances than to the tougher social themes that occupy some of her poems."

D15     [Kirkconnell, Watson.] "Day and Night." Canadian Poetry Magazine, 8, No. 3 (March 1945), 39. Kirkconnell attacks Livesay's blindness to "vast proletarian slave-camps" in the Soviet Union, but does note "poetry of great originality and distinction." The review argues that she "has also been an assiduous and successful student of poetic technique" and has now "come of age as an artist."

D16     Wells, Henry H. "The Awakening of Canadian Poetry." New England Quarterly, 18 (March 1945), 11-12. Wells asserts that the book "illustrates some of the inevitable refinements in the contemporary movement of which Pratt will almost certainly be regarded as the first and in many ways the most impressive figure." Much of the beauty of her poetry "lies in its purity and translucence, in its lyrical lithesomeness and spontaneity." He finds that the love poems "give chiselled expression to highly feminine and ecstatic experience."

D17     Brown, E. K. "Letters in Canada: 1944. Poetry." University of Toronto Quarterly, 14 (April 1945), 262-63. "Her preoccupation with radical conceptions of social reform has narrowed her vision as a poet and has made her one of our least dependable critics." Livesay does, however, have "an excellence which outruns any intellectual synthesis," and a sensibility which "does not live in the fetid slums, or in megalopolis, or in the mechanized society of her ideal future, but just in wind and sun and rain."

D18     "Poems Worth Studying." Canadian Author & Bookman, March 1946, p. 20. The book "appeals to the mind as well" as the emotions. "Her intensity of feeling and fearlessness in experiment recommend her work to poets who are inclined to think and write tritely."

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Part 2 Works On Dorothy Livesay; Selected book reviews; Disasters of the Sun, Collected Poems: The Two Seasons  

Ricketts, Alan (compiler)

D56     Gibbs, Robert. "Reviews." The Fiddlehead, No. 94 (Summer 1971), pp. 134-35. Gibbs asserts that "age has given the primal, solar energy, which has always been her lyric impulse, a clearer vent." The "controlled intensity" of the book "withdraws attention from the format and grabs it all for the poetry."

D57     Lane, Patrick. "The Collected Poems of Dorothy Livesay." Blackfish, Nos. 4-5 (Winter-Spring 1972-73), n. pag. An interesting twenty-three-page review. Lane underlines the claim that the book is an autobiography and explores (from a New-Left perspective) Livesay's commitments to Women's Liberation, radicalism, the oppressed Metis, and her victimization by Eastern Canadian publishers.

D58     Geddes, Gary. "Livesay Towers Over a Kitchen- Sink Pack." The Globe and Mail, 13 Jan. 1973, p. 31. Geddes argues that the Collected Poems "will come as a shock to many readers. Here is a poet, relatively unsung in her own country, who stands head and shoulders above the pack of neurosis chroniclers and kitchen-sink journalists stalking among us." He stresses that Livesay is, not a "victim," but a "revolutionary"; she reveals "a fine sensibility becoming reformed by a sense of community and making art out of the dialectic of her private and public selves."

D59     Rogers, Linda. "A Woman for All Seasons." Books in Canada, Jan.-Feb. 1973, p. 50. Although Rogers argues that the book is "a history of twentieth century Canada narrated by a woman whose experience is analogous to its unfolding," she rejects the social poetry as "embarrassingly punctuated by apostrophe" and prefers the times when Livesay "abandons evangelism for the private event."

D60     Aspinall, Dawn, Charles Lillard, Anne Marriott, and Pat Lowther. "A Discussion." Prism International, 13, No. 1 (Summer 1973), 137-41. Lillard comments that "this woman has lived through every major poetic movement in the twentieth century and almost none of them have touched her." Aspinall stresses the "joy and energy that always hold its opposites." A steady progression in her writing -- while others have failed to advance -is significant to Marriott. Lowther describes the book as "an organic thing that grows and flowers, and there are all sorts of interesting things among the branches too. ! like it very much."

D61     Baugh, Edward. "Dorothy Livesay, Collected Poems." Quarry, 22, No. 4 (Autumn 1973), 2-4. Baugh argues that her poetry "was always assured, always technically expert, always abreast of (and sometimes ahead of) its time," but that it has developed a "more subtle music" with "diction and imagery more demanding." He believes that her "strongest bent is towards the intimate and lyrical," not the public and political.

D62     Skelton, Robin. "Livesay's Two Seasons." Canadian Literature, No. 58 (Autumn 1973), pp. 77-82. Skelton comments that the "language is frequently a little pedestrian, a little too casual," with "many images commonplace," and "many cadences tired and predictable." There is, though, "such passionate honesty of feeling, and such consistent moral courage, that even the grossest defects," as in Hardy's poetry, "become endearing."

D63     Marshall, Tom. "New Books: Poetry." Queen's Quarterly, 80 (Winter 1973), 655-56. "Dorothy Livesay is the original earth-mother of modern Canadian poetry." The social poems "seem, highly perishable," but the later, personal poems are "increasingly tense and dramatic." She has displayed "a considerable feel for tight patterns of sound, rhythm and symbol" and is "by nature a delicate, spare writer."

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Part 2 Works On Dorothy Livesay; Selected book reviews; Green Pitcher, Signpost  

Ricketts, Alan (compiler)

D1     "A Bookworm's Diary." The Vancouver Sun, 5 Oct. 1928, p. 22. Comments that the poems "have a spontaneous life" and are "piquant, graphic, exquisite."

D2     Knister, Raymond. "Modes Conservative and Chic." Saturday Night, 3 Nov. 1928, p. 12. Livesay is a Modernist poet who "is very careful to reject the banal in language if not in thought," although she is "almost too careful at times." Green Pitcher has a "magic of wording sometimes" which "clothes an almost impalpable experience."

D3     "Poetry." The Times Literary Supplement, 20 Dec. 1928, p. 1014. "Laughter runs through her verses like a soft wind through the trees," expressing "at once eager life and quiet sympathy, the motion and the rest wedded."

D4     B., D. W. "Signpost." Lethbridge Herald, 8 Dec. 1932, P. 9. Discerns the influence of Wylie, Emily Dickinson, and Edith Sitwell in her work and comments "how very refreshing is this slender book of verse after the general deluge of lush and emotional naturalism that usually indicates Canadian poetry." The volume is "absolutely concise," "keen," and "intellectual."

D5     "Dorothy Livesay Writes Terse and Homely Poetry." Toronto Daily Star, 10 Dec. 1932, p. 4. There are "many admirable touches In this little volume," although the "poetry is not so original as that which has been attempted by some other Canadian authors."

D6     R.,E.J. "A Young Poet." The Spectator [Hamilton], 10 Dec. 1932, p. 20. Livesay is a Modernist poet, but "is as yet only trying her wings." This second collection, though, shows an advance from Green Pitcher. She is "youth on the threshold, and her songs reflect the freshness of a mind sensitive to beauty, and to the light and shade of life as it flows around her."

D7     "Winnipeg Girl Brings Out Second Successful Book of Verses in East." Winnipeg Free Press, 14 Dec. 1932, p. 11. Decries the lack of sentimentality and "emotional naturalism." Signpost is a disappointment after Livesay's first volume, which had "a swift and darting lightness that made the verse of many of her contemporaries seem stationary and wooden." This book has talent and strength, but "not the divine audacity"; it is more "conscious and deliberate."

D8     Collin, W.E. "Signpost." The Canadian Forum, Feb. 1933, pp. 191-92. Collin believes that Livesay was significant as a transitional poet, "introductory to a poetry which is coming in," but that she was too Romantic to be a truly Modernist poet. He praises her ability to create "dry, hard, coloured, visual images rather than mushy ones engendered by emotions or desires" and finds her style to be "a revolt against romanticism." Since she still writes of "her own mind" and lacks "enough contact with life," however, she is still partially a Romantic poet, less innovative than the McGill poets.

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Part 2 Works On Dorothy Livesay; Selected book reviews; Ice Age  

Ricketts, Alan (compiler)

D65     Ashwell, Keith. "Possible Gift Books." Edmonton Journal, 20 Dec. 1975, p. 30. Ashwell describes Livesay as "one of the heartiest ladies of Canadian letters" and as "one of the few contemporary poets I can take."

D66     Jewinski, Hans. "Poetry." Quill & Quire, Jan. 1976, p. 25. She is "the grande dame of Canadian literature" and "is still taking chances. That is the work of a great poet. That is class." All of her personae are present in this book -- "lover, poet, survivor, grandmother -- in a strong, self-assured manner."

D67     Such, Peter. "Three Grand Old Parties." Books in Canada, Feb. 1976, pp. 9-11. A defense of the view that Livesay's "strength does not lie in the personal lyric of private moan but has always been in the documentary." He describes the book as a "poignant collection" in which "the dedicated and aging woman artist begins to regret the personal sacrifice that her art has meant to her. An aching loneliness runs through her sensuality and she is left with only the therapeutic comfort of her art."

D68     MacSkimming, Roy. "Poet Enjoying the Spotlight." Toronto Star, 4 March 1976, p. E14. Livesay "confronts aging with carnal warmth" in a book that seems to urge "men and women to greater compassion and generosity toward each other." In the background, though, "hovers a certain bleakness about the prospects for humanity."

D69     Stubbs, Roy St. George. "Nourished in Native Soil." Leisure Magazine [Winnipeg Free Press], 6 March 1976, p. 17. Livesay's poetry "has constantly refreshed itself by keeping in touch with the issues of the day." Her "poetic aim has been more to educate than to entertain" and "she shows that poetry is about life and that politics is a large part of life."

D70     Woodcock, George. "Playing with Freezing Fire." Canadian Literature, No. 70 (Autumn 1976), pp. 89-91. The "basic theme is the process of ageing which to the outsider seems like the cooling of a hearth but to the experiencer can be more like eating every day one of those chef's concoctions in which hot and cold are combined miraculously." "For the last ten years now she had been writing better poetry than she ever wrote before, which is only one of the many current examples disproving the old legend that the best lyricists are those who die young. And Ice Age shows, in my view, no slackening from her recent upsurge. The speech is strong and firm, the empathies are wide (e.g. the astonishingly penetrative poem to Alan Crawley, 'To Be Blind'), there is a good deal of the liberated cantankerousness of those to whom age brings a further clearing of the eyes, and there is a haunted consciousness that we advance towards death in a dying world, that the ice age may be universal."

D71     Gatenby, Greg. "On Ice Age." The Tamarack Review, No. 70 (Winter 1977), pp. 91-94. This is "a magnificent collection of poetry touching a myriad of bases and emotions." Gatenby finds particularly "exciting, challenging, and curious" the "way in which Livesay articulates the physical world of women: not lust how they breathe or see, but how they respond, ... how they hurt; how they wonder about men's wondering about them." Gatenby concludes that "balance and consistency have become the hallmark of Dorothy Livesay, an impressive writer of presence, both on the page and while she is reading publicly."

D72     Gotlieb, Phyllis. Rev. of Ice Age. Queen's Quarterly, 84 (Summer 1977), 331-32. Livesay "is a master of technique, and though her language is as clear as a flesh brook running over multicolored stones, her ideas are not simple; they are powerful and subtle enough so that some of the poems I did not like at first reading had engaged me by the third."

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Part 2 Works On Dorothy Livesay; Selected book reviews; New Poems  

Ricketts, Alan (compiler)

D26     Frye, Northrop. "Letters in Canada: 1955. Poetry." University of Toronto Quarterly, 25 (April 1956), 300-01. "The main Impression is of a disciplined and experienced handling of modern poetic idioms." Frye anticipates future critical discussion with the observation that "a sense of a lonely pessimism, of the shutting off of communication, of the inevitable victories of winter and darkness, gives the poems a plaintively muted quality: they seem to struggle against a conviction that they cannot say much."

D27     Watters, Reginald E. "Books: New Poems." B.C. Magazine [Vancouver Province], 12 May 1956, p. 17. Watters notes the "recurrent symbolism" in the opposition of light and darkness in a book which is a "probe into the moral bases of our age's spiritual impoverishment." Her standards are "more exacting, her judgment is sure, and her achievement unfaltering. Her style has become more concentrated, her imagery richer in color and overtones, and her thought deeper."

D28     Pacey, Desmond. "New Poems." The Fiddlehead, No. 27 (Fall 1956), pp. 22-23. Pacey describes Livesay as a "poetess who is constantly experimenting." He traces her earlier Imagist and radical interests to "a temporary plateau from which she looks down at life with the freshness of her early vision but also with the knowledge derived from prolonged observation." This leads to a duality -- "of innocence and experience, of hope and apprehension." These poems return, in style and mood, to her earliest work because she finds assurance "in the creative imagination, the innocent hope of children, and in individual love" rather than in "political programs."

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Part 2 Works On Dorothy Livesay; Selected book reviews; Nine Poems of Farewell 1972-1973  

Ricketts, Alan (compiler)

D64     Mitchell, Beverly. Rev. of Collected Poems: The Two Seasons and Nine Poems of Farewell 1972-1973. The Fiddlehead, No. 99 (Fall 1973), pp. 96-99. "The Collected Poems creates not only a 'psychic autobiography' but also a record of the changing techniques fashionable in Canadian poetry over the past forty-six years." "Reading the Collected Works leaves one with two overwhelming impressions -- the first is just what a good poet Dorothy Livesay is; the second, how different the 'psychic autobiography' revealed in the poems is from the image Miss Livesay has projected of herself as the rather flamboyant 'dancer celebrating life.'" In Livesay's poetry about the poet as wife and mother, "the technique and subject matter are so perfectly matched that the reader is swept along with the poetic experience." Mitchell notes that "The Nine Poems of Farewell show the poet reduced to near-despair, saying in effect: 'I have seen all things that are done under the sun, and behold, all is vanity and a chase after wind.'"

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Part 2 Works On Dorothy Livesay; Selected book reviews; Plainsongs (1st ed.)  

Ricketts, Alan (compiler)

D51     Brewster, Elizabeth. "A Useful Outlet for Poets." Edmonton Journal, 12 Dec. 1969, p. 68. Plainsongs is "the work of a skilled craftswoman" and "'among her best work, more exciting than her recently published Documentaries and on a level with many of the poems in The Unquiet Bed." The poems, though, are "not as spontaneous" as in the latter book.

D52     Vernon, Lorraine. "Communication Quick and Rare." The Vancouver Sun, 9 Jan. 1970, p. 30A. Vernon declares a distaste for "the process of analysis" -- "I only want to feel the rhythms and tones flow out and over me, line by line." The poems combine tones "so soft, yet so strong" and are "urgent, .... too intense to wait."

D53     Ditsky, John. "Books Received." The Canadian Forum, Feb. 1970, p. 271. In reviewing a series of Fiddlehead books, Ditsky contrasts the "sure voices" of Livesay and Fred Cogswell with the "flat undergraduate angst" of the younger poets.

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Part 2 Works On Dorothy Livesay; Selected book reviews; Plainsongs (2nd ed.)  

Ricketts, Alan (compiler)

D54     Doyle, Mike. "Made in Canada." Poetry [Chicago], 119 (March 1972), 361. Doyle feels that this is the most satisfying of the eight Fiddlehead books briefly discussed. Particular praise is given to the "fine, nervy" qualities of "The Operation."

D55     Bailey, Don. "A Provincial Look at Ten Volumes of Canadian Poetry." Queen's Quarterly, 79 (Summer 1972), 244-45. "They are the most personal poems of hers that I have ever seen. Personal in that tough space-giving way that does not draw you into the pain or grief or even in such a way as you become immersed in it, but allows you the room to absorb the richness of the contact and reflect and digest it in your personal way. In a crazy way it reminded me of the porter who had come in a few minutes before and asked if I'd like my bed prepared. I said no and he left silently, not making me feel as though I had offended him. And I knew he would return."

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Part 2 Works On Dorothy Livesay; Selected book reviews; Poems for People  

Ricketts, Alan (compiler)

D19     Birney, Earle. "Reviews." Canadian Poetry Magazine, 11, No. 1 (Sept. 1947), 37-38. Birney comments that "as compared with earlier work these poems show an advance in discipline and variation of technique." Her social protests are better because they contain a "richer feeling for man in general and his need, from his earliest days, for tolerance and affection."

D20     Bailey, Alfred G. "New Books." The Dalhousie Review, 27 (Oct. 1947), 383-84. Livesay achieves a "personal idiom which was wrought from her deep sense of human values, a complete absence of sentimentality, and her way of evoking meaning from sharply-defined appearances." This idiom is "accentuated" in this volume, and the work "is more finely etched than before"; but it has less emotional impact than her earlier writing. Some poems are "subtle to the point of obscurity."

D21     Clarke, George Herbert. "Recent Canadian Verse." Queen's Quarterly, 54 (Oct. 1947), 394. The "most striking poems" employ "something from the fabric of prose" and, at times, "tradition and modernity meet, and not as strangers." The sonnets are weak; they suffer from "occasional wavering."

D22     Waddington, Miriam. "Books Received." The Canadian Forum, Oct. 1947, p. 165. The poet has "matured beyond the need to imitate and has assimilated whatever identification she once had into her own strong poetic individuality." Waddington is distressed, though, that Livesay can be "carried away by zeal worthy of a high school debater with its resultant rhetoric." A significant point is that she is also "preoccupied with the problems of expressing and perhaps reconciling, the many-sided feminine self." The ability to live vicariously, as in "The Child Looks Out," is a rare accomplishment for a modern woman writer.

D23     Reaney, James. "Quiet Poetess." The Varsity [Univ. of Toronto], 20 Oct. 1947, p. 5. Reaney discusses the weakness of rhythm, vagueness, and poetic diction m "F D R" and "Page One," but concludes that Poems for People shows "a quiet, minor, sometimes delicious poet, who may be seen as a child, a wife, a lover, a social worker in London, a visitor in Wales, who knows how to write of these various selves in curiously steely, snappy lines. Occasionally she comes to wrack and rum with a line ending .... "

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Part 2 Works On Dorothy Livesay; Selected book reviews; Right Hand Left Hand  

Ricketts, Alan (compiler)

D85     Marshall, Joyce. "Remembering Ancestors." Branching Out, 5, No. 2 (1978), 41. Marshall concentrates on the "political and feminist aspects" of the book, which is recommended "to younger readers who may not be too sure of where we were as women then."

D86     Young, Ian. "Dorothy on the Red-Brick Road." Books in Canada, Jan. 1978, p. 24. The book is described as "a valuable document of the Canadian intellectual life in those days, which were among the most engrossing in this country's history." Young is distressed, though, that Livesay's "political education appears to have stalled in the 1930's."

D87     Stevens, Peter. "Documentary Thirties." The Canadian Forum, March 1978, p. 40. The collection is an extension of Livesay's own "documentary genre," but it is "curiously uneven" as no attempt is made to present the material coherently, particularly in terms of her personal life. There is "simplification" and "lack of commentary" which is compounded by silent, unacknowledged editing of earlier articles. In addition, the parallelism between the 1930s and 1960s (which Livesay has stressed elsewhere) is not developed.

D88     Kiverago, Ron A. "Thirties Revisited." Essays on Canadian Writing, No. 10 (Spring 1978), pp. 101-03. Kiverago stresses that the lay-out of the book gives "a strong impression of the 1930's sensibility" and that personal affairs properly give way to public issues as the decade develops in Livesay's poetry. Kiverago argues that Livesay "never allows herself to slip into that jingoistic party-line jargon that appeals to the barely literate." Kiverago also argues that there is "a celebration of the beauty of life that defies the notion of destructive limitations. It is an attitude that ties social and individual struggle together in a cosmos that is benevolent."

D89     Kreisel, Henry. "The Poet as Radical: Dorothy Livesay in the Thirties." CV/II, 3, No. 1 (Winter 1979), pp. 19-21. Livesay is "a poet not satisfied merely to give expression to the private sensibility, to private joys and prorate agonies, but determined to revolve herself in the wider social Issues of her time," the social, economic, and political problems of the Depression and war years. Kreisel describes Livesay's sense of class structure and of being an outsider during her middle-class upbringing and education at Glen Mawr and Trinity College. An interest in Emma Goldman led her into politics, the radical left, and feminism. Her "Pans experience" is "very understated" and she "cannot sustain the idyllic mood," seeing no way out of the European "'mess'" "'but the death and burial of Capitalism.'" By relying on documentaries, Livesay mimmizes "not only the vagaries of memory, but also the natural tendency of writers to re-interpret the past or even consciously or unconsciously, to alter it." Her own poems, articles, short stones, and reportages are set m the context of anonymous photographs and reproductions, so that the " T is submerged, and autobiography becomes documentary." Livesay cites T. S. Eliot, Edith Sitwell, and the French Symbolistes as prime examples of the "'decadence in modern bourgeois poetry.' .... She clearly identifies her own views at the time with those of Leo Kennedy," in that "Bourgeois art.., is dead, and a new proletarian art is in the process of being born." Livesay abandoned "lyric poetry as no longer relevant to the needs of the rimes." The prose in her reportage pieces "is spare and dean, the scenes sharply observed, the characters of the working people ... are caught in a few deft strokes, sympathetically but unsentimentally."

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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201

Part 2 Works On Dorothy Livesay; Selected book reviews; Selected poems of Dorothy Livesay (1926-1956)  

Ricketts, Alan (compiler)

D29     MacLure, Millar. "Turning New Leaves." The Canadian Forum, June 1957, pp. 63-64. Livesay's mythos is "a recurring passion" which is loneliness, "or rather passion which moves from the personal level of loneliness down to the depths of an aloneness beneath personality, down to the centre of being." There is "much to praise and enjoy in almost every poem among the later ones"; the earlier poems "keep saying little important things."

D30   Endicott, Norman. "Poetry Chronicle." The Tamarack Review, No. 4 (Summer 1957), pp. 82-83. The earliest poems are "Fancies" and the second section describes love with "some surprisingly bad adjectives and metaphors." The social poetry is not equal to English political verse. The new attention to personal emotion in the latter poems produces "a jumble of exaltation and forced metaphors which would have to be quoted for their awkwardness to be appreciated." "London, 1946" is "the very epitome of rather self-righteous sincerity, political commonplace and mechanical metaphors."

D31     "Experiments in Verse." The Times Literary Supplement, 4 Oct. 1957, p. 588. Dismisses Selected Poems as too derivative. "One cannot help feeling that the vast empty expanse of Canada is still inimical to the emergence of any powerful individual talent: there are too many faded images, too many borrowed echoes, m this collection as a whole."

D32     Frye, Northrop. "Letters in Canada: 1957. Poetry." University of Toronto Quarterly, 27 (July 1958), 448-50. Frye has "Mixed feelings" towards the collection, but does trace Livesay's development from Imagism, whose "virtues are those of gentle reverie and a relaxed circling movement," to the social passion which "begins to fuse the diction, tighten the rhythm, and concentrate the imagery." Livesay's most distinctive quality "is her power of observing how other people observe, especially children."

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Part 2 Works On Dorothy Livesay; Selected book reviews; The Colour of God's Face  

Ricketts, Alan (compiler)

D33     Harder, Helga. "Poetry in Pamphlets." Canadian Literature, No. 26 (Autumn 1965), pp. 79-82. While Livesay's contemporaries have "often turned to mythology for new Imagery," she has "successfully turned to a new environment for hers." The rhythmic power of her verse has been intensified by the influence of African songs and dances. The poetry is "a deliberate fusion of imagism and interpretation, and because this itself is experimental, it demands extreme poetic sensitivity for a unification of the aspects of the particular and the universal which is made possible by such a technique."

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Part 2 Works On Dorothy Livesay; Selected book reviews; The Documentaries  

Ricketts, Alan (compiler)

D43     Fetherling, Doug. "Only One Breaks Even." The Globe Magazine [The Globe and Mail], 14 Dec. 1968, p. 24. Fetherling describes the poems as "Immeasurably better than E. J. Pratt's tales about Dunkirk and the Titanic," but he questions whether the poems should be used -- as they are offered -- to be a means of understanding the past. "That's what popular historians are for, not poets."

D44     Weaver, Robert. Rev. of The Documentaries. Toronto Daily Star, 1 Feb. 1969, p. 15. Although "Some of the poems" in the collection "are now dated," this is "a strong book and much of the autobiographical material is both new and interestingly revealing."

D45     Cogswell, Fred. "Reviews." The Fiddlehead, No. 79 (March-April 1969), p. 112. An attempt to trace Livesay's development. The collection reveals an "artistic unity" between her concerns in the 1930s and 1940s, "her humanity," and her "roots in the soils of Manitoba and rural Ontario." He finds the earlier long poems reveal "writing partly in chains" because "stylistically and sometimes emotionally, Miss Livesay was still part of the neat, imagist establishment of lady poets in her own time." The poem "Roots" shows "how she has grown in increasing freedom from the shackles of dogma and form."

D46     Cook, Gregory M. "Book Reviews." Dalhousie Review, 49 (Spring 1969), 143-45. The poems are "documents" written by a "reporter, didactic teacher, and social worker." The book is of "academic importance" because it presents the past through "authenticity of imaginative projection into character, place and mood" in "Ontario" and "Roots."

D47     Stevens, Peter. "Ideas and Icons." Canadian Literature, No. 40 (Spring 1969), pp. 76-78. Although "Day and Night" and "The Outrider" "perhaps over-simplify political positions" and "West Coast .... hovers on the brink of an uneasy and simplified acceptance of the rightness of the war," the collection is "remarkably honest" and "Livesay has never quite been given her due as a significant writer m the development of modern Canadian poetry m English." The two most recent poems in this volume indicate her "honesty of mind and feeling and help to gather together principal facets of her poetic character which has made a real contribution to Canadian poetry."

D48     McQuaig, John. "Books Reviewed." The Canadian Forum, April 1969, pp. 19-20. McQuaig describes the book as an offering of history "in verse and worse."

D49     Hayne, David. "Letters in Canada: 1968. Poetry." University of Toronto Quarterly, 38 (July 1969), 349-50. The book "reveals imagism in an uneasy alliance with social commentary .... [T]he style of these pieces ... is often rough, and one is at times uncomfortably aware of the way in which idioms of social protest pass out of fashion."

D50     Resnick, Philip. "Ontario Story." Canadian Dimension, 6 (July 1969), 38. "Livesay writes in a very traditional style, iambics and all, yet it is somehow very appropriate to the period. The starkness of life called for starkness in form; experiment was the luxury of more prosperous times." "Documentaries does not contain great poetry, but it does contain good poetry, clearly and cleanly expressed. More importantly, it deals with subject matter which is absolutely crucial for any radical poetic or political sensibility, which only infrequently finds its way into Canadian literature."

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Part 2 Works On Dorothy Livesay; Selected book reviews; The Raw Edges: Voices from Our Time  

Ricketts, Alan (compiler)

D77     Lewis, Kevin. "Poetry from the Banal to the Sublime." Rev. of The Raw Edges: Voices from Our Time, by Dorothy Livesay; The Visitants, by Miriam Waddington; and Evening Dance of the Grew Flies, by P. K. Page. Quill & Quire, Jan. 1981, p. 35. "All three are at their weakest when they write outside their own experience .... In Livesay's case ... this is, unfortunately, the entire book." Lewis does not like chapbooks and notes that Turnstone has stretched the size of the book to thirteen pages. The dramatic cast of characters is, ostensibly, "to articulate truths on the modern condition of the human race," but the result is "simplistic moralizing delivered in a flat, lifeless poetic language."

D78     Bemrose, John. Rev. of The Raw Edges: Voices from Our Time. The Globe and Mail, 26 Sept. 1981, p. 17. Livesay "feels little hesitation about playing public sage. The Raw Edges is a dense and often beautiful dialogue between Poet, Painter, Sybil, Commoner and Scientist, all having a lively chat about the gloomy future of the world .... The fighting frenzy of Livesay's optimism over the years is genuine. She would have us rise to the goodness -even the greatness -- it is the poet's duty to imagine."

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Part 2 Works On Dorothy Livesay; Selected book reviews; The Unquiet Bed  

Ricketts, Alan (compiler)

D34     Skelton, Robin. "Everything Lives." Canadian Literature, No. 35 (Winter 1967), pp. 91-92. Livesay "has always been one of the least noisy and most perceptive of our poets," and this collection indicates that she is "a poet of real stature whose work can stand up beside that of any other poet in the English speaking world." Skelton believes that the book's minor faults include an occasional thinness and the failure to achieve rhetorical power by "disciplined brevities"; but her love poems are "astonishing in their directness, dignity and sensitivity."

D35     Parr, D. Kermode. "Poetry, Artists and Naturalists." The Atlantic Advocate, June 1967, p. 72. "In movie jargon the book would have to be rated 'for adults only.'" The review does comment, though, on Livesay's claim for a new direction: "[I]n the innocence of an older generation I had believed that practically all poems written in the past few thousand years had been intended by their makers to be read aloud, but today's poets must be lust rediscovering this aim."

D36     Thompson, Kent. "Reviews." The Fiddlehead, No. 73 (Summer 1967), pp. 79-83. Thompson distinguishes between the poets of the West Coast (who are dominated by "immediacy") and the poems of the East Coast (which are "organic" in organization and deal with "the force of the landscape"). He argues that Livesay's poetry combines both approaches, being "both immediate and crafted"; she "cannot be tied to any school of poets." She "seems to have allowed the poems to make their own demands, and she has not imposed patterns on either her poetic craft or her eyesight, which is why, I think, the poems are so successful."

D37     Barbour, Douglas. "Book Reviews." Quarry, 17, No. 2 (Winter 1968), 46-47. The young West Coast poets and their American tutors have influenced her recent verse to create "a poetry tough and taut yet lyrical and singing." Livesay's own long experience of writing has given her a "much better sense of the lyrical value of language than most of her new mentors," making her poetry "loose and rhythmically free, but still controlled and sure."

D38     Hoffman, Stanton. "Three Canadian Poets." Canadian Dimension, 5, Nos. 2-3 (Jan.-March 1968), 50-52. Her voice is "not literary and disembodied," but "real, human, personal, individual, physical." The experience of love is present as "a dramatic whole" through its various stages of "surrender, passivity, need, delight, compulsion, resistance, violence, renewal, gentleness, and so on."

D39     Purdy, Al. "Reviews." The Tamarack Review, No. 47 (Spring 1968), pp. 88-89. Purdy dismisses her earlier poems as "dull, despite all the sweet, nice things said about them" and considers Livesay to be a "much better and more human poet now." These later verses "strike a wise, witty, and warm counterpoint to the woman herself."

D40     Helwig, David. "Poetry East, West and Centre." Queen's Quarterly, 75 (April 1968), 530-36. Helwig attacks the West Coast poets, arguing that "the strengths of the book belong to Dorothy Livesay rather than to her new allegiance." He concentrates on two "intensely felt personal poems," finding lines which are "bland and portentous" and others which are "vital and surprising."

D41     Pacey, Desmond. "Books Reviewed." The Canadian Forum, April 1968, pp. 21-22. This is "a rich and vital book which proves beyond a shadow of a doubt that poetry is not a peculiar secretion of adolescence but pre-eminently an expression of mature humanity." Pacey notes both an "almost frightening vitality" and "a quieter, wiser, sadder note" by a woman who sees "the best poetry not as words on a page but as living speech." She is "as impassioned an amorist and as frank an emotional autobiographer" as anyone.

D42     MacCallum, Hugh. "Letters in Canada: 1967. Poetry." University of Toronto Quarterly, 37 (July 1968), 368-69. The serial poem (which MacCallum sees as an influence m the book) is considered as an extension of Imagism, although it is more complex and longer. New styles "make new, and sometimes unexpected demands on subject matter, and Dorothy Livesay's experiments are not all equally satisfying." She is "a poet of intense moments," but less successful in presenting human figures or social themes. "It is the isolated image that stirs the imagination" in her work.

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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201

Part 2 Works On Dorothy Livesay; Selected book reviews; The Woman I Am: Best Loved Poems from One of Canada's Best Loved Poets  

Ricketts, Alan (compiler)

D73     Aubert, Rosemary. Rev. of The Woman I Am: Best Loved Poems from One of Canada's Best Loved Poets. Quill & Quire, Dec. 1977, p. 34. "'Undoubtedly, the advantage of covering such a time span in one volume is that one can gauge development, improvement, and change of viewpoint. The fact is that the excellence of most of these poems distracts the reader into regarding each for its own unique value. "The unifying factor of the selection is womanhood in all its different aspects. Livesay is grand- daughter in 'Green Ram' and grandmother in 'The High.' She is a young mother running after a child in 'The Mother' and a far more subtle and sophisticated mother In 'Parenthood." She is wife, widow, friend, lover, and, in old age, she is loverless, but she is always a poet relating experience with humanness. Perhaps, ultimately, that is what she sees as the bond between the sexes."

D74     Morton, Mary Lee. "Livesay Distorted." Branching Out, 5, No. 3 (1978), 41. "One extremely important aspect of Livesay's personality -- her involvement in social issues and her devotion to justice -- is almost completely missing from this Selection." Despite the absence of "the political Livesay," the book's "chronological divisions show the growing uniqueness of Livesay's voice, from the naive, occasionally gushing girl to the spare, strong old woman."

D75     Jewinski, Hans. "... They Licked the Platter Clean." Books in Canada, Jan. 1978, p. 26. "In the book she [Livesay] thanks several people for helping her develop as a person and as a poet. It is too bad that none of them (presumably) was able to read this book m manuscript and save her from herself .... Most of the selections have a strong beginning but no satisfactory end, and in one after another she is childish, silly, and mawkish."

D76     Fletcher, Peggy. "The Printed Page Their Classroom." Canadian Author & Bookman, July 1978, pp. 42-43. Fletcher believes that Livesay's is "a penetrating voice for both sexes who share grief and joy." She argues that while Livesay "has recently been dubbed as a feminist poet ... her responses are removed from a stereotypical viewpoint."

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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201

Part 2 Works On Dorothy Livesay; Selected book reviews; Woman's Eye: 12 B.C. Poets  

Ricketts, Alan (compiler)

D94     Gasparini, Len. "Mythopoeic Hits and Ms." Books in Canada, Jan. 1975, pp. 21-22. "There are so many good poems in Woman's Eye that space does not permit me to mention all of them .... The rhythmic life-cycle, the eternal ovum underlies everything in this anthology .... In one way or another, what these poets seem to be driving at is the notion that men should likewise suffer the wound of menstruation." Woman's Eye "is an engrossing collection."

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Source: Part 2: Works On Earle Birney. Noel-Bentley, Peter (compiler); Toronto, Ontario : ECW Press, 1983, pp. 68-124

Part 2 Works On Earle Birney; Selected book reviews; 20th Century Canadian Poetry: An Anthology  

Noel-Bentley, Peter (compiler)

D143     B., A. R. Rev. of 20th Century Canadian Poetry: An Anthology. The Dalhousie Review, 33 (Winter 1953-54), xxx-xxxl. A positive review which says that "many penetrating and stimulating questions are raised" in the notes; "the reader becomes aware of the diversity and richness of Canadian poetry."

D144     Pacey, Desmond. Rev. of 20th Century Canadian Poetry: An Anthology. The Fiddlehead, No. 20 (Feb. 1954), pp. 17, 19. The volume is "hastily and casually assembled: it contains several glaring inaccuracies, and its choice of poems is arbitrary and unrepresentative." Pacey objects to the arrangement of poems by subject matter; and challenges the meaning of the subject headings. He also objects to the number of poets included -- "no less than seventy individual poets ... , though it is doubtful whether there have been twenty poets worthy of the name in Canada in the last fifty years." Pacey does not even like the selections from individual poets, the introduction, or the biographical notes ("occasionally even plain wrong"). The "critical notes ... [are] the most valuable part of the book. When Birney ventures into explication, he is uniformly helpful."

D145     Dudek, Louis. "Turning New Leaves." The Canadian Forum, March 1954, p. 280. Dudek quarrels with the selection of poets, the sub-divisions, and the end-notes. "Mr. Birney's division of poetry into Canadian subject categories displays a naive nationalistic approach which is surprising in so good a poet and critic. Our anthologists should take our literature more seriously than to dress it In this fashion in condescension to a popular audience or the would-be needs of the classroom."

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Source: Part 2: Works On Earle Birney. Noel-Bentley, Peter (compiler); Toronto, Ontario : ECW Press, 1983, pp. 68-124

Part 2 Works On Earle Birney; Selected book reviews; Lunar Caustic  

Noel-Bentley, Peter (compiler)

D147     Kilgallin, Tony. "Lowry Posthumous." Rev. of Lunar Caustic and Dark as the Grave Whereto My Friend is Lard, by Malcolm Lowry. Canadian Literature, No. 39 (Winter 1969), pp. 80-83. "With his [Lowry's] dead hand upon them, Margerie Lowry and Earle Birney have reproduced in this Cape Edition of Lunar Caustic the text they edited for The Parts Review in 1963."

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Source: Part 2: Works On Earle Birney. Noel-Bentley, Peter (compiler); Toronto, Ontario : ECW Press, 1983, pp. 68-124

Part 2 Works On Earle Birney; Selected book reviews; Selected Poems of Malcolm Lowry  

Noel-Bentley, Peter (compiler)

D146     Bromige, David. Rev. of Selected Poems of Malcolm Lowry. Northwest Review [Univ. of Oregon], 6, No. 1 (Winter 1963), 113-15. "Lowry's voice is in nearly all of them [poems], speaking with a compelling directness that overrides rhythmical flaws, and roars over line-ends like rapids over rocks."

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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309

Part 1 Works By A.J.M. Smith; Books; Addresses  

Burke, Anne (compiler)

A14     The University of New Brunswick: Founders' Day Address. Preface D.L. MacLaren. Fredericton: Univ. of New Brunswick, 1946. 19 pp. See B437.

A15      Canadian Literature of Today and Tomorrow. N.p.: n.p., [1947]. 8 pp. "From the Proceedings of the 1947 Conference of the Canadian Library Association ...." (See B438.)

A16     Some Poems of E. J. Pratt: Aspects of Imagery and Theme. The Pratt Lecture. Memorial Univ. of Newfoundland. Toronto: Univ. of Toronto Press, 1969. 20 pp. See B448.

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Part 1 Works By A.J.M. Smith; Books; Books edited  

Burke, Anne (compiler)

A17     --, Introd. The Book of Canadian Poetry: A Critical and Historical Anthology. Chicago: Univ. of Chicago Press, 1943. xxiv, 486 pp.

     Toronto: Gage, 1943. xvii, 452 pp.

     Chicago: Univ. of Chicago Press, 1948. XXIV, 486 pp.

     Toronto: Gage, 1948. xxiv, 486 pp.

     Toronto: Gage, 1957. xxv, 532 pp.

A18     Seven Centuries of Verse: English and American: From the Early English Lyrics to the Present Day. New York: Scribners, 1947. xxxii, 671 pp.

     New York: Scribners, 1957. xxxix, 778 pp.

     New York: Scribners, 1967. xxxvii, 818 pp.

A19      --, introd. The Worldly Muse: An Anthology of Serious Light Verse. New York: Abelard, 1951. xxviii, 388 pp.

     Toronto: McLeod, 1951. xxviii, 388 pp. Most of the copies were destroyed in a warehouse fire.

A20     --, and M.L. Rosenthal, introd. Preface A.J.M. Smith and M.L. Rosenthal. Exploring Poetry. New York: Macmillan, 1955. xli, 758 pp.

     Toronto: Collier-Macmillan, 1955. xli, 758 pp.

     New York: Macmillan, 1973. xxvii, 531 pp.

     Toronto: Collier-Macmillan, 1973. xxvii, 531 pp. With notes by A. J. M. Smith and M. L. Rosenthal.

A21     --,and F.R. Scott, eds. and introd. The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. Preface David L. Thomson. Toronto: Macmillan, 1957. xix, 138 pp.

     Toronto: Macmillan, 1967. xx, 166 pp. With notes by A. J. M. Smith and F. R. Scott. The Preface by Thomson was not reprinted in the 1967 edition.

A22     --, introd. The Oxford Book of Canadian Verse: In English and French. Toronto: Oxford Univ. Press, 1960. lvi, 445 pp. See A12: the Introduction is retitled "A Brief History of Canadian Poetry" when reprinted.

A23     --, introd. Masks of Fiction: Canadian Writers on Canadian Prose. New Canadian Library Original, No. O2. Toronto: McClelland and Stewart, 1961. xi, 162 pp.

A24     --, introd. Masks of Poetry: Canadian Critics on Canadian Verse. New Canadian Library Original, No. O3. Toronto: McClelland and Stewart, 1962. xi, 143 pp.

A25     --, introd. The Book of Canadian Prose: Early Beginnings to Confederation. Vol. I. Toronto: Gage, 1965. xxii, 261 pp.

     Rpt. The Colonial Century: English-Canadian Writing before Confederation. Vol. 1 of The Book of Canadian Prose. Toronto: Gage, 1973. XXII, 261 pp. See A12.: the Introduction is retitled "Prose of the Colonial Period" when reprinted.

A26     Essays for College Writing. New York: St. Martin's, 1965. xi, 417 pp.

A27     --, introd, 100 Poems. New York: Scribners, 1965. xviii, 201 pp.

     Granger Index Reprint Series. Freeport, N.Y.: Books for Libraries, 1965. xviii, 201 pp. Contains a glossary by Smith.

A28     --, introd. Modern Canadian Verse: In English and French. Toronto: Oxford Univ. Press, 1967. xxvi, 426 pp.

A29     --, introd, and Preface. The Collected Poems of Anne Wilkinson, and a Prose Memoir. New York: St. Martin's, 1968. xxi, 212 pp.

     Toronto: Macmillan, 1968. xxi, 212 pp.

A30     --, introd. The Canadian Century: English-Canadian Writing since Confederation. [Vol. II of The Book of Canadian Prose.] Toronto: Gage, 1973. xx, 652 pp.

A31     --, introd. The Canadian Experience: A Brief Survey of English-Canadian Prose. Agincourt, Ont.: Gage, 1974. xix, [300] pp. The contents are selected from The Book of Canadian Prose, 2 vols.

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Part 1 Works By A.J.M. Smith; Books; Criticism  

Burke, Anne (compiler)

A9     "The Poetry of W. B. Yeats." M.A. Thesis McGill 1926.

A10     "Studies in the Metaphysical Poets of the Anglican Church in the Seventeenth Century." Diss. Edinburgh 1931.

A11     The Poetry of Robert Bridges. Montreal: Burton's, [1932?]. 15 pp. Distributed by Burton's Book Store.

A12     Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. Vancouver: Univ. of British Columbia Press, 1973. xi, 230 pp. Includes "A Brief History of Canadian Poetry." (A22), "The Canadian Poet: After Confederation" (B348), "Canadian Poetry -- A Minority Report" (B311), "The Canadian Poet: To Confederation" (B347), "Colonialism & Nationalism in Canadian Poetry before Confederation" (B436), "Critical Improvisations on Margaret Avison's Winter Sun" (B422), "Earle Birney: A Unified Personality" (B343), "Eclectic Detachment: Aspects of Identity in Canadian Poetry" (B443), "The Fredericton Poets" (B437), "F.R. Scott and Some of His Poems" (B345), "Impromptu Remarks Spoken at the International Poetry Conference, Man and His World" (B447), "Poet" (B439), "The Poetic Process: On the Making of Poems" (B446), "The Poetry of Duncan Campbell Scott" (B320), "The Poetry of P. K. Page" (B357), "Prose of the Colonial Period" (A25), "A Reading of Anne Wilkinson" (B333), "A Rejected Preface to ,New Provinces, 1936'' (B340), "A Self-Review" (B334), "Some Poems of E.J. Pratt: Aspects of Imagery and Theme" (B448), "A Summing-Up" (B315), "A Survey of English-Canadian Letters -- A Review" (B428), and "Wanted -- Canadian Criticism" (B307).

A13     --,introd. On Poetry and Poets: Selected Essays of A. J. M. Smith. New Canadian Library, No. 143. Toronto: McClelland and Stewart, 1977. ix, 122 pp. Includes "Canadian Anthologies New and Old (1942)" (B314), "The Confessions of a Compulsive Anthologist (1976)" (B450), "Critics and Biographers: A Review (1944)" (B413), "The Devil Take Pier -- And Them (1962)" (B172), "A Garland for E. J. Pratt (1958)" (B329), Introduction, "Introduction to The Blasted Pine (1957)" (A21), "Introduction to The Book of Canadian Poetry (1943)" (A17), "The Poet and the Nuclear Crisis (1965)" (B444), "Poet in Residence, Bishop's University: For Ralph Gustafson (1965)" (B187), "The Poetics of Alfred Bailey (1974)" (B431), "The Poetry of Duncan Campbell Scott (1948)" (B320), "The Refining Fire: The Meaning and Use of Poetry (1954)" (B327), "A Salute to Layton: In Praise of his Earliest Masterpieces (1956)" (B421), "Stanzas Written on First Looking into Johnston's Auk (1959)" (A6), "To Frank Scott, Esq. On the Occasion of his Seventieth Birthday (1969)" (B189), and "To Jay Macpherson, on Her Book of Poems (1958)" (B165).

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Part 1 Works By A.J.M. Smith; Books; Manuscripts  

Burke, Anne (compiler)

A32     The A. J. M. Smith Collection, Bata Library, Trent University, Peterborough, Ontario

The A.J.M. Smith Collection has been divided into archives material and separately housed books and periodicals. There are draft manuscripts of poems, critical articles, reviews, lectures, a copy of Smith's dissertation, translations, off-prints of Smith's essays, review clippings, honorary degrees, tapes of poetry readings, and a good deal of correspondence. Of particular interest are the unpublished stories. There are approximately 1200 volumes in the book section, mainly presentation copies from twentieth-century Canadian poets and annotated copies of Smith's books. There are also many rare nineteenth-century holdings, privately printed editions of Smith's poems, and complete or broken runs of English, American, and Canadian periodicals. A preliminary inventory has been prepared:

B-78-007/(1-10); 2(1-9): Correspondence 1927-78 in alphabetical order.

• 3(1-8): Review correspondence and clippings about The Book of Canadian Poetry: A Critical and Historical Anthology, News of the Phoenix and Other Poems, Modern Canadian Verse: In English and French, and Collected Poems.
• 4(1-16): Reviews and correspondence about The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers, The Book of Canadian Prose: Early Beginnings to Confederation (Vol. I), The Oxford Book of Canadian Verse: In English and French; clippings extracted from the A.J.M. Smith Collection of Canadiana.
• 5(1-33): Drafts of poems, anthologies, and essays by A. J. M. Smith; tape recordings of readings.
• 6(1-7): Selection of essays about Smith.
• 7(1-7): Honorary degrees.

Appendix 1: List of extracted letters and reports.

Appendix 2: List of extracted clippings.

Appendix 3: List of extracted poetry.

Appendix 4: List of extracted research notes.

Appendix 5: List of extracted photographs and pictures.

Recent additions to the collection:

• 80-005/1; 1(1-14): Letters from Allen Latham, George W. Latham, Douglas C. Adam, E. A. Forsey, H. J. C. Grierson, A.M. Klein, Leon Edel, Louis Schwartz, Leo Kennedy, Sandra Djwa, and alphabetical correspondence from D-H.
• 2(1-14): Alphabetical correspondence from I-M and N-Z. Miscellaneous personal letters and other papers.
• 3(1-14): Drafts of The Book of Canadian Poetry: In English and French, and copies of his M.A. thesis and Ph.D. dissertation.
• 4(1-9): Presentation copies by other authors.

A33    A.J.M. Smith Papers, Thomas Fisher Rare Book Library, University of Toronto, Toronto, Ontario

The Thomas Fisher Rare Book Library at the University of Toronto holds the Smith manuscripts and materials. The collection spans Smith's career from 1924 to 1965. Among the manuscripts are incomplete poems and poem fragments, notes for "The Poet and the Nuclear Crisis" and for "The Poetic Process: Of the Making of Poems," and drafts of the Canadian anthologies and of Smith's books of poems.

The page proofs of The Oxford Book of Canadian Verse: In English and French, News of the Phoenix and Other Poems, and Collected Poems are available. The papers also contain correspondence from over 250 writers and publishers, chiefly concerning the publication of Smith's anthologies. Manuscripts by other authors include Ross Fraser Donald, Theodore Goodridge Roberts, Charles W. Jefferys, Stephen Leacock, Malcolm Lowry, Howard O'Hagan, and W.W.E. Ross. These manuscripts contain a few holographic comments, mostly by the authors, but some by Smith. An entire file of material remains restricted at Smith's request.

Boxes 1-2: Correspondence.

Box 3: Manuscripts.

Box 4: Periodicals.

Box 5: Essays by Smith.

Box 6: Restricted file (letters to Smith).

Note: There are other collections in the Thomas Fisher Rare Book Library which should be noted for their select Smith holdings:

Margaret Atwood Papers

Correspondence between Smith and Atwood, 30 Oct. 1966-6 Jan. 1967.

Earle Birney Papers

Correspondence between Smith and Birney, 30 April 1942-22. March 1967.

A34     Rare Books and Special Collections Department, McLennan Library, McGill University, Montreal, Quebec

The Rare Book Room at McGill has complete holdings of the McGill Daily, McGill Daily Literary Supplement, and McGill Fortnightly Review. The McLennan Library also has The Canadian Mercury, 1928-29.

A35     Public Archives of Canada, Ottawa, Ontario

In the Archives at the National Library there are some collections which should be noted for their select holdings of Smith material:

Patrick Anderson Papers

Letters between Smith and Anderson, 22 Jan. 1943-45.

John Glassco Papers

There is correspondence between Glassco and Smith from 1963-64 regarding the Foster Poetry Conference, a poem by Glassco, "To A. J. M. Smith on His Change of Residence 1966," and correspondence about the French translations by Rina Lasnier of "I Shall Remember," "Journey," "Like an Old Proud King in a Parable," "Shadows There Are," "To a Young Poet," and "News of the Phoenix."

A. M. Klein Collection

Contains letters between Smith and Klein, 12 Jan. 1943-1 May 1948.

A36     The Theodore Roethke Papers, The Suzzalo Library, University of Washington, Seattle, Washington

The Theodore Roethke Papers include letters from Roethke to Smith, 14 July-2 June 1960; letters from Smith to Roethke 1944-62; two letters by Smith about Roethke; interviews conducted by Allen Seager for The Glass House at The Bancroft Library at the University of California, Berkeley; recordings by Smith and others about Roethke.

A37     Archives, Douglas Library, Queen's University, Kingston, Ontario

The Queen's University Archives contains the following correspondence:

Alan Crawley Papers

Letters from 5 Jan. 1948-6 May 1948.

Dorothy Livesay Papers

Letters from 14 March 1942-9 Dec. 1966.

A38     Department of Rare Books and Special Collections, University of Calgary Library, University of Calgary, Calgary, Alberta

The Department of Rare Books and Special Collections holds letters of Smith to Malcolm Ross about Ross's "Redeeming the Time," and On Poets and Poetry: Selected Essays of A.J.M. Smith.

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Part 1 Works By A.J.M. Smith; Books; Poetry  

Burke, Anne (compiler)

[underbar]

A1     News of the Phoenix and Other Poems. New York: Coward-McCann, 1943. 42 pp.

     Toronto: Ryerson, 1943. 42 pp. The Ryerson design was by Thoreau MacDonald. Includes "The Archer" (B127), "Beside One Dead" (B91), "Calvary" (B117), "Chorus" (B121), "The Creek" (B100), "The Cry" (B134), "Epitaph" (B53), "The Face" (B122), "'The Faithful Heart" (B130), "Far West" (B129), "For Healing" (B69), "The Fountain" (B111), "Good Friday" (B102), "Hellenica" (B26), "A Hyacinth for Edith" (B85), "In the Wilderness" (B104), "I Shall Remember" (B38), "'Journey" (B66), "Like an Old Proud King in a Parable" (B101), "The Lonely Land" (B54), "News of the Phoenix" (B109), "Noctambule" (B116), "Ode: On the Death of W.B. Yeats" (B133), "Ode: The Eumenides" (B136), "The Offices of the First and the Second Hour" (B110), "On Reading an Anthology of Popular Poetry" (B131), "The Plot against Proteus" (B108), "Poor Innocent" (B123), "A Portrait, and a Prophecy" (B132), "Prothalamium" (B98), "Sea Cliff" (B105), "Shadows There Are" (B96), "The Shrouding" (B65), "A Soldier's Ghost" (B114), "Son-and-Heir" (B118), "Swift Current" (B106), "To a Young Poet" (B115), "To the Christian Doctors" (B126), and "The Two Sides of a Drum" (B78).

A2     Selected Profane Verse & Sacred Poetry of A. J. M. Smith. East Lansing, Mich.: Johnson Head, 1946. 20 leaves. "Pirated" by Johnson Head. What is apparently the only copy, at Trent University, bears Smith's signature. Includes "Ballade un peu banale" (B68) and "Good Friday" (B102).

A3     The Archer. East Lansing, Mich.: Calligraphia, 1954. [8] pp. Designed, hand set, and printed by Justine Ray and Betty Murphy. Etching by Victor Croftchik. Includes "The Archer" (B127).

A4     A Sort of Ecstasy. Poems: New and Selected. East Lansing, Mich.: Michigan State College Press, 1954. 55 pp.

     Toronto: Ryerson, 1954. 55 pp. Includes "The Archer" (B127), "Bird and Flower" (B139), "The Bridegroom" (B128), "Brigadier" (B241), "Business as Usual: 1946" (B142), "Chinoiserie," "The Circle" (B103), "The Common Man" (B140), "The Creek" (B100), "The Dead" (B141), "A Dream of Narcissus" (B145), "Fear as Normal: 1954," "Field of Long Grass" (B92), "Hellenica" (B26), "A Hyacinth for Edith" (B85), "The Lonely Land" (B54), "The Mermaid" (B62), "Noctambule" (B116), "No Treasure," "Ode: On the Death of William Butler Yeats" (B133), "Ode: The Eumenides" (B136), "The Plot against Proteus" (B108), "Political Intelligence" (B125), "A Portrait, and a Prophecy" (B132), "Quietly to Be Quickly, or Other or Ether, a Song or a Dance" (B120), "Resurrection of Arp" (B112), "Sea Cliff"(B105), "A Soldier's Ghost" (B114), "The Sorcerer" (B46), "Souvenirs du Temps Perdu" (B143), "Swift Current" (B106), "To Anthea," "To Hold in a Poem" (B42), "Tree" (B144), "Universe into Stone" (B32), and "With Sweetest Heresy" (B137).

A5     Universe into Stone. East Lansing, Mich.: Calligraphia, 1954. [8] pp. Designed, hand set, and printed by Tama Root and Jean Trudell. Etching by Donna Diamond. Includes "Universe into Stone" (B32).

A6     Collected Poems. Toronto: Oxford Univ. Press, 1962. [128] pp. Includes "The Archer" (B127), "Astraea Redux: Keewaydin Poetry Conference" (B146), "At Twenty-Six," "Ballade un peu banale" (B68), "Beside One Dead" (B91), "The Bird" (B67), "Bird and Flower" (B139), "The Bridegroom" (B128), "Brigadier" (B241), "Business as Usual: 1946" (B142), "Calvary" (B117), "Canticle of St John," "Chinoiserie," "Choros" (B121), "The Circle" (B103), "The Common Man" (B140), "The Convolvulus" (B155), "The Creek" (B100), "The Crows" (B113), "The Cry" (B134), "The Dead" (B141), "A Dream of Narcissus" (B145), "Eden's Isle" (B148), "Epitaph" (B53), "The Faithful Heart" (B130), "Far West" (B229), "Fear as Normal: 1954"' (A4), "Field of Long Grass" (B92), "For Healing" (B69), "The Fountain" (B111), "Good Friday" (B102), "Hellenica I, II" (B26), "A Hyacinth for Edith" (B85), "In the Wilderness" (B104), "I Shall Remember" (B38), "Journey" (B66), "Like an Old Proud King in a Parable" (B101), "The Lonely Land" (B54), "May Song" (B244), "The Mermaid" (B62), "My Death" (B161), "A Narrow Squeak: Variations on a Theme of Anne Wilkinson" (B154), "News of the Phoenix" (B109), "Nightfall: Fin de siecle" (B97), "Noctambule" (B116), "No Treasure," "Ode: On the Death of William Butler Yeats" (B133), "Ode: The Eumenides" (B136), "The Offices of the First and the Second Hour" (B110), "One Sort of Poet," "On Knowing Nothing" (B147), "On Reading an Anthology of Popular Poetry" (B131), "Pagan" (B23), "Pastel" (B245), "A Pastoral" (B160), "The Plot against Proteus" (B108), "Political Intelligence" (B125), "Poor Innocent" (B123), "A Portrait, and a Prophecy" (B132), "Prothalamium" (B98), "Quietly to Be Quickly or Other or Ether: A Song or a Dance" (B120), "Resurrection of Arp" (B112), "Sea Cliff" (B105), "Shadows There Are" (B96), "The Shrouding" (B65), "A Soldier's Ghost" (B114), "Son-and-Heir: 1930" (B118), "Song Made in Lieu of Many Ornaments" (B162), "The Sorcerer" (B46), "Souvenirs du temps perdu" (B143), "Speaking about Death: Blues for Mentor Williams" (B163), "The Stallions," "Stanzas Written on First Looking into Johnston's Auk," "The Swan and the Dove" (B170), "Swift Current" (B106), "They Say" (B50), "This Flesh Repudiates the Bone" (B150), "Thomas Moore and Sweet Annie" (B156), "Three Phases of Punch" (B56), "To Anthea," "To a Young Poet" (B115), "To Henry Vaughan" (B164), "To Hold in a Poem" (B42), "To Jay Macpherson on Her Book of Poems" (B165), "To the Christian Doctors" (B126), "To the Haggard Moon" (B157), "The Trance," "Tree" (B144), "The Two Birds" (B81), "The Two Sides of a Drum" (B78), "Universal Peace: 19 -- ," "Universe into Stone" (B32), "Le Vierge, Le Vivace et Le Bel Aujourd'hui" (B159), "What Is That Music High in the Air?" (B151), "What Strange Enchantment" (B47), "What the Emanation of Casey Jones Said to the Medium" (B152), "When I Was a Thrush," "Wild Raspberry" (B158), "The Wisdom of Old Jelly Roll" (B195), and "With Sweetest Heresy" (B137).

A7     Poems: New and Collected. Oxford in Canada Paperback Series, No. 10. Toronto: Oxford Univ. Press, 1967. 160 pp. Includes "The Adolescence of Leda" (B176), "The Archer" (B127), "Astraea Redux: Keewaydin Poetry Conference" (B146), "At Twenty-six" (A6), "Ballade un peu banale" (B68), "Beside One Dead" (B91), "Birches at Drummond Point" (B188), "The Bird" (B67), "Bird and Flower" (B139), "The Bridegroom" (B128), "Brigadier" (B241), "Business as Usual 1946" (B142), "Calvary" (B217), "Canncle of St John" (A6), " Chinoiserie," "Choros" (B121), "The Circle" (B103), "The Common Man" (B140), "The Convolvulus" (B155), "The Country Lovers," "The Creek" (B100), "The Crows" (B113), "The Cry" (B134), "The Dead" (B141), "The Devil Take Her -- and Them" (B172), "A Dirge for Gordon Dundas," "A Dream of Narcissus" (B145), "Eden's Isle" (B148), "Epitaph" (B53), "The Faithful Heart" (B130), "Far West" (B129), "Fear as Normal 1954" (A4), "Field of Long Grass" (B92), "For Healing" (B69), "The Fountain" (B111), "Good Friday" (B102), "Hellenica" (B26), "The Hippopotamus" (B247), "The Hunter," "A Hyacinth for Edith" (B85), "An Iliad for His Summer Sweetheart" (B177), "In Memoriam: E. J. P." (B181), "In the Churchyard at South Durham, Quebec" (B95), "In the Wilderness" (B104), "I Shall Remember" (B38), "Journey" (B66), "Like an Old Proud King in a Parable" (B101), "A Little Night Piece" (B183), "The Lonely Land" (B54), "May Song" (B244), "The Mermaid" (B62), "Metamorphosis" (B150), "My Death" (B161), "My Lost Youth" (B88), "A Narrow Squeak: Variations on a Theme of Anne Wilkinson" (B154), "News of the Phoenix" (B109), "Nightfall: Fin de siecle" (B97), "Noctambule" (B116), "No Knife Needed" (B179), "No Treasure" (A6), "Ode: On the Death of William Butler Yeats" (B133), "Ode: The Eumenides" (B136), "The Offices of the First and the Second Hour" (B110), "One Sort of Poet" (A6), "On Knowing Nothing" (B147), "On Reading an Anthology of Popular Poetry" (B131), "On the Appointment of Ralph Gustafson, Esq., as Poet in Residence at Bishop's University" (B184), "Pagan" (B23), "Pastel" (B245), "A Pastoral" (B160), "Perdrix" (B248), "The Plot Against Proteus" (B108), "Political Intelligence" (B125), "Poor Innocent" (B123), "A Portrait, and a Prophecy" (B132), "Prothalamium" (B98), "Quietly to Be Quickly or Other or Ether: A Song or a Dance" (B120), "Resurrection of Arp" (B112), "Sea Cliff" (B105), "Shadows There Are" (B96), "The Ship of Gold," "The Shrouding" (B65), "A Soldier's Ghost" (B114), "Son-and-Heir: 1930" (B118), "Song: Made in Lieu of Many Ornaments" (B162), "The Sorcerer" (B46), "Souvenirs du temps bien perdu" (B185), "Souvenirs du temps perdu" (B143), "Speaking about Death: Blues for Mentor Williams" (B163), "The Stallions" (A6), "Stanzas Written on First Looking into Johnston's Auk" (A6), "The Swan and the Dove" (B170), "Swift Current" (B106), "The Taste of Space" (B186), "They Say" (B50), "Thomas Moore and Sweet Annie" (B156), "Three Phases of Punch I" (B56), "Three Phases of Punch II" (B56), "Three Phases of Punch III" (B56), "The Tin Woodman's Annual Sonnet to Ozma of Oz at the Approach of Spring," "To Anthea" (A4), "To a Young Poet" (B115), "To Henry Vaughan" (B164), "To Hold in a Poem" (B42), "To Jay Macpherson on Her Book of Poems" (B165), "To the Christian Doctors" (B126), "To the Haggard Moon" (B157), "The Trance" (A6), "Tree" (B144), "The Two Birds" (B81), "The Two Sides of a Drum" (B78), "Universe into Stone" (B32), "Le Vierge, Le Vivace et Le Bel aujourd'hui" (B159), "Walking in a Field, Looking Down and Seeing a White Violet" (B171), "Watching the Old Man Die" (B180), "What Is That Music High in the Air?" (B151), "What Strange Enchantment" (B47), "What the Emanation of Casey Jones Said to the Medium" (B152), "When I Was a Thrush" (A6), "Wild Raspberry" (B158), "The Wisdom of Old Jelly Roll" (B195), and "With Sweetest Heresy" (B137).

A8     The Classic Shade: Selected Poems. Introd. M. L. Rosenthal. Toronto: McClelland and Stewart, 1978. 96 pp. Includes "Angels Exist, and Sonnets Are Not Dead" (B190), "The Archer" (B127), "Ballade un Peu Banale" (B68), "Bird and Flower" (B139), "The Bridegroom" (B228), "Brigadier" (B241), "Calvary" (B117), "Canticle of St John" (A6), "Cavalcade" (B99), "Chinoiserie," "Choros" (B121), "The Convolvulus" (B155), "The Country Lovers: A Little Eclogue for Irving and Aviva" (A7), "The Creek" (B100), "The Cry" (B134), "The Devil Take Her -- and Them" (B172), "The Faithful Heart" (B130), "Far West" (B129), "Field of Long Grass" (B92), "For Healing" (B69), "The Fountain" (B111), "A Hyacinth for Edith" (B85), "An Iliad for His Summer Sweetheart" (B177), "In Memoriam: E. J. P." (B181), "In the Churchyard at South Durham, Quebec" (B95), "Like an Old Proud King in a Parable" (B101), "A Little Night Piece" (B183), "The Lonely Land" (B54), "May Song" (B244), "The Mermaid" (B62), "Metamorphosis" (B150), "My Death" (B161), "My Lost Youth" (B88), "A Narrow Squeak: Variations on a Theme of Anne Wilkinson" (B154), "News of the Phoenix" (B109), "Noctambule" (B116), "Ode: On the Death of William Butler Yeats" (B133), "Ode: The Eumenides" (B136), "On Knowing Nothing" (B147), "On the Appointment of Ralph Gustafson, Esq., as Poet in Residence at Bishop's University" (B184), "A Pastoral" (B160), "The Plot against Proteus" (B108), "Poet in Residence, Bishop's University" (B187), "Political Intelligence" (B125), "Poor Innocent" (B123), "A Portrait, and a Prophecy" (B132), "Prothalamium" (B98), "Resurrection of Arp" (B112), "Sea Cliff" (B105), "Shadows There Are" (B96), "A Soldier's Ghost" (B114), "Son-and-Heir: 1930" (B118), "The Sorcerer" (B46), "Souvenirs du Temps Perdu" (B143), "Stanzas Written on First Looking into Johnston's Auk" (A6), "Swift Current" (B106), "The Taste of Space" (B186), "Thomas Moore and Sweet Annie" (B156), "To Anthea" (A6), "To a Young Poet" (B115), "To Frank Scott, Esq., on the Occasion of His Seventieth Birthday" (B189), "To Henry Vaughan" (B164), "To Irving Layton, on His Love Poem to Mrs. Jacqueline Kennedy, Then First Lady" (B167), "To Jay Macpherson on Her Book of Poems" (B165), "To the Christian Doctors" (B126), "The Two Birds" (B81), "The Two Sides of a Drum" (B78), "Le Vierge, le Vivace et le Bel Aujourd'hui" (B159), "Walking in a Field, Looking Down and Seeing a White Violet" (B171), "Watching the Old Man Die" (B180), "What Is That Music High in the Air?" (B151), "What Strange Enchantment" (B47), "What the Emanation of Casey Jones Said to the Medium" (B152), "Wild Raspberry" (B158), and "The Wisdom of Old Jelly Roll" (B195).

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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309

Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Addresses  

Burke, Anne (compiler)

B435      "Contemporary Poetry." [McGill Univ.]. 2 Dec. 1926. Printed (excerpts) in "Soldier Poet Inspired by World War." McGill Daily, 3 Dec. 1926, pp. 1, 3 (see C3). Rpt. (expanded, original -- "Contemporary Poetry") in McGill Fortnightly Review, 15 Dec. 1926, pp. 31-32.

B436      "Colonialism and Nationalism in Canadian Poetry before Confederation." Canadian Historical Association Annual Meeting, Montreal. 1-2 June 1944. Printed in Canadian Historical Association Report. Ed. E.M. Saunders. Toronto: Univ. of Toronto Press, 1944, pp. 74-85. TVCL (revised -"Colonialism & Nationalism in Canadian Poetry before Confederation").

B437      "The Fredericton Poets." Univ. of New Brunswick Founder's Day Address, Univ. of New Brunswick, Fredericton, 19 Feb. 1946. 19 pp. Printed (excerpts -- "Fredericton School of Poets Is Subject of Address Given Here by Dr. A. J. M. Smith, Michigan State") In The Daily Gleaner [Fredericton], 20 Feb. 1946, pp. 3, 6. Rpt. (expanded, original) in Twentieth Century Essays on Confederation Literature. Ed. Lorraine McMullen. Ottawa: Tecumseh, , pp. 128-39. UNB (expanded); TVCL (revised). With opening remarks by D. L. MacLaren. The first, printed article is not by Smith, but is mainly composed of long excerpts from his address.

B438      "Canadian Literature of Today and Tomorrow." Second Annual Conference of the Canadian Library Association, Vancouver. June 1947, pp. 1-8. CLTT.

B439      "Poet." The Canadian Writers' Conference, Queen's Univ., Kingston. 28 July 1955. Printed in Writing in Canada: Proceedings of the Canadian Writers' Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Toronto: Macmillan, 1956, pp. 13-24. TVCL (revised).

B440      "Donne and Spenser: Two Poetics." Language and Literature Sec., Michigan Academy of Science, Arts and Letters, Michigan State Univ., East Lansing, Mich. 23 March 1957.

B441      "The Literary Background." Seminar on Canadian-American Relations, Michigan State Univ., East Lansing, Mich. 1957.

B442      "Duncan Campbell Scott." Public Lecture under the Auspices of Carleton University, Carleton Univ., Ottawa. March 1958. Printed (excerpts -"Duncan Campbell Scott, Poet") in The Ottawa Journal, 22 March 1958, p. [44]. Rpt. (revised, condensed -- "Duncan Campbell Scott: A Reconsideration") in Canadian Literature, No. 1 (Summer 1959), pp. 13-25.

B443     'Eclectic Detachment: Aspects of Identity In Canadian Poetry." Annual Meeting of the Modern Language Association, Philadelphia. 1960. Printed in Canadian Literature, No. 9 (Summer 1961), pp. 6-14. TVCL.

B444      "The Poet and the Nuclear Crisis." Assumption University Lecture. N.d. Reread at The Foster Poetry Conference, Montreal. 12-14 Oct. 1963. Printed In English Poetry m Quebec: Proceedings of the Foster Poetry Conference: October 12-14 1963. Ed. John Glassco. Montreal: McGill Univ. Press, 1965, pp. 13-28. OPP ["The Poet and the Nuclear Crisis (1965)"].

B445      "A. J. M. Smith Reading from Collected Poems." Kellogg Center, Univ. of Michigan. 5 Nov. 1963.

B446      "The Poetic Process: Of the Making of Poems." Centennial Review Lecture, 1964, Fifth Annual Lecture for The Centennial Review, Michigan State Univ., East Lansing, Mich. 22 May 1964. Printed in The Centennial Review of Arts & Science [Michigan State Univ.], 8 (Fall 1964), 353-70. TVCL ("The Poetic Process: On the Making of Poems").

B447      "Le Poete dans la societe contemporaine." International Poetry Conference, Man and His World, Montreal. 8 Sept. 1967. Printed in Etudes litteraires, 1, No. 3 (Dec. 1968), 411-13. TVCL (revised -- "Impromptu Remarks Spoken at the International Poetry Conference, Man and His World").

B448      "Some Poems of E. J. Pratt: Aspects of Imagery and Theme." Second Annual Pratt Lecture, Memorial Univ. of Newfoundland, St. John's. April 1969. 20 pp. SPEJP; TVCL.

B449     --, and A.M. Klein. "Some Letters of A. M. Klein to A.J.M. Smith, 1941-51." A.M. Klein Symposium, Univ. of Ottawa, Ottawa. 1974. Printed in A.M. Klein Symposium. Ed. Seymour Mayne. Reappraisals of Canadian Writers, No. 1. Ottawa: Univ. of Ottawa Press, 1975, pp. 1-13.

B450      "The Confessions of a Compulsive Anthologist." Conference in Honour of Professor Gordon Roper, Trent Univ., Peterborough. March 1976. Printed in Journal of Canadian Studies, 11, No. 2 (May 1976), 4-14. OPP [revised -- "The Confessions of a Compulsive Anthologist (1976)"].

B451      "Evolution and Revolution as Aspects of English-Canadian and American Literature." Revolution and Evolution: Development in the United States and Canada, Duke Univ., Durham, N.C. 14-16 Oct. 1976. Printed in Perspectives on Revolution and Evolution. Ed. Richard A. Preston. Durham, N.C.: Duke Univ. Press, 1979, pp. [213]-37.

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Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Articles and editorials  

Burke, Anne (compiler)

B260      "Maps." McGill Daily. "The Dilettante," 14 March 1923, p. 3. Signed: "S."

B261      "The Poetry of W. B. Yeats." McGill Daily. "The Dilettante," 21 Nov. 1923, p. 3. Signed: "Tomfool."

B262      "Chariots to Parnassus." McGill Daily. "The Dilettante," 6 Feb. 1924, p. 3. Originally signed: "TOM root."

B263      "License in the Library." McGill Daily Literary Supplement, 8 Oct. 1924, p. 2. Unsigned editorial.

B264      "The University Book Club." McGill Daily Literary Supplement, 8 Oct. 1924, p. 2. Unsigned editorial.

B265      "Anatole France." McGill Daily Literary Supplement, 15 Oct. 1924, p. 1. Signed: "A. J. M. S."

B266      "Wanted: A Players' Club." McGill Daily Literary Supplement, 15 Oct. 1924, p. 2. Unsigned editorial.

B267      "A Co-Operative Science Catalogue." McGill Daily Literary Supplement, 22 Oct. 1924, p. 2. Unsigned editorial.

B268      "Epilogue." McGill Daily Literary Supplement, 22 Oct. 1924, p. 2. Unsigned editorial.

B269      "The Quest for Beauty." McGill Daily Literary Supplement, 22 Oct. 1924, p. 2. Unsigned editorial.

B270      "The Burke Recital." McGill Daily Literary Supplement, 29 Oct. 1924, p. 2. Unsigned editorial.

B271      "Is Dancing Immoral?". McGill Daily Literary Supplement, 29 Oct. 1924, p. 2. Unsigned editorial.

B272     "The Triumph of Quebec." McGill Daily Literary Supplement, 29 Oct. 1924, p. 2. Unsigned editorial.

B273      "Creative Criticism." McGill Daily Literary Supplement, 5 Nov. 1924, p. 2. Unsigned editorial.

B274      "The Lit." McGill Daily Literary Supplement, 5 Nov. 1924, p. 2. Unsigned editorial.

B275      "Note." McGill Daily Literary Supplement, 5 Nov. 1924, p. 2. Unsigned editorial.

B276      "Isa Kremer." McGill Daily Literary Supplement, 12 Nov. 1924, p. 3.

B277     "McGill and the Community Players." McGill Daily Literary Supplement, 12 Nov. 1924, p. 2. Unsigned editorial.

B278     "'Choosing the Weaker Sex." McGill Daily Literary Supplement, 19 Nov. 1924, p. 2. Unsigned editorial.

B279     "Of Women Writers." McGill Daily Literary Supplement, 19 Nov. 1924, p. 2. Unsigned editorial.

B280      "'The French Theatre." McGill Daily Literary Supplement, 26 Nov. 1924, p. 2. Unsigned editorial.

B281      "'The Poetry of Harry: A Critical Examination." McGill Daily Literary Supplement, 26 Nov. 1924, pp. 1, 3.

B282      "The Players Club." McGill Daily Literary Supplement, 26 Nov. 1924, p. 2. Unsigned editorial.

B283      "Canadian Book Week." McGill Daily Literary Supplement, 3 Dec. 1924, p. 2. Unsigned editorial.

B284      "Note." McGill Daily Literary Supplement, 3 Dec. 1924, p. 2. Unsigned editorial.

B285      "The Sunday Musicale." McGill Daily Literary Supplement, 3 Dec. 1924, p. 2. Unsigned editorial.

B286     "Bliss Carman." McGill Daily Literary Supplement, 10 Dec. 1924, p. 2. Unsigned editorial.

B287     "Courses in Contemporary Literature." McGill Daily Literary Supplement, 10 Dec. 1924, p. 2. Unsigned editorial.

B288     "Prizes for College Poets." McGill Daily Literary Supplement, 10 Dec. 1924, p. 2. Unsigned editorial.

B289     "The Oppression of Minority Opinion." McGill Daily Literary Supplement, 19 Dec. 1924, p. 2. Unsigned editorial.

B290     "Tess on the Screen." McGill Daily Literary Supplement, 19 Dec. 1924, p. 2. Unsigned editorial.

B291     "A. R. Orage." McGill Daily Literary Supplement, 21 Jan. 1925, p. 2. Unsigned editorial.

B292     "Utopiana." McGill Daily Literary Supplement, 21 Jan. 1925, p. 2. Unsigned editorial.

B293      "Be Good, Sweet Maid ...." McGill Daily Literary, 28 Jan. 1925, p. 2. Unsigned editorial.

B294      "Variation on a Montaigne Motif." McGill Daily Literary Supplement, 28 Jan. 1925, p. 2. Unsigned editorial.

B295      "Enter the Players." McGill Daily Literary Supplement, 4 Feb. 1925, p. 2. Unsigned editorial.

B296      "To Gown or Not to Gown?". McGill Daily Literary Supplement, 4 Feb. 1925, p. 2. Unsigned editorial.

B297      "From Patriotism to Pacifism: A Sketch of English War Poetry." McGill Daily Literary Supplement, 11 Feb. 1925, pp. 1-2, 4.

B298      "The Old Conflict." McGill Daily Literary Supplement, 11 Feb. 1925, p. 2. Unsigned editorial.

B299      "Let Us Pray." McGill Daily Literary Supplement, 18 Feb. 1925, p. 2. Unsigned editorial.

B300     "Salute to Elia." McGill Daily Literary Supplement, 18 Feb. 1925, p. 2. Unsigned editorial.

B301     "Now It Can Be Told." McGill Daily Literary Supplement, 4 March 1925, p. 2. Unsigned editorial.

B302     "'Valedictorial.'" McGill Daily Literary Supplement, 11 March 1925, p. 2. Unsigned editorial.

B303     "Symbolism in Poetry." McGill Fortnightly Review, 5 Dec. 1925, pp. 11-12, 16.

B304     "The McGill Players' Club." McGill Fortnightly Review, 19 Dec. 1925, p. 22. Signed: "S."

B305     "Hamlet in Modern Dress." McGill Fortnightly Review, 3 Nov. 1926, pp. 2-4.

B306     --, and F.R. Scott. "The Players Club and Moyse Hall." McGill Fortnightly Review, 1 Dec. 1926, pp. 18-20.

B307     "Wanted -- Canadian Criticism." The Canadian Forum, April 1928, pp. 600-01. TVCL. See response by F.R. Scott in The Canadian Forum, June 1928, pages 697-98.

B308      "A Note on Metaphysical Poetry." Canadian Mercury, 1 (Feb. 1929), 61-62.

B309      "Some Relations between Henry Vaughan and Thomas Vaughan." Papers of the Michigan Academy of Science, Arts, and Letters, 18 (1933), 551-61. Signed: "Arthur J. M. Smith."

B310      "[Reply to] An Enquiry." New Verse, No. 11 (Oct. 1934), pp. 9-10.

B311      "Canadian Poetry -- A Minority Report." University of Toronto Quarterly, 8 (Jan. 1939), 125-38. TVCL (revised).

B312     "A Poet Young and Old -- W. B. Yeats." University of Toronto Quarterly, 8 (April 1939), 255-63.

B313     "Canadian Literature: Towards a National School." The Times [London, Eng.], 15 May 1939, p. xxi. Rpt. (revised -- "Canadian Literature") in Canada. London: The Times, 1939, pp. 242-44.

B314     "Canadian Anthologies, New and Old." University of Toronto Quarterly, 11 (July 1942), 457-74. OPP ["Canadian Anthologies New and Old (1942)"].

B315      "Our Poets: A Sketch of Canadian Poetry in the Nineteenth Century." University of Toronto Quarterly, 12 (Oct. 1942), 75-94. TVCL (revised, excerpt -- "A Summing Up").

B316      "The Poetry of Leo Kennedy." Canadian Review of Music and Art, 3, Nos. 3-4 (April-May 1944), 37.

B317      "La Nationalisme et Les Poetes Canadiens Anglais." Trans. Guy Sylvestre. Gants du Ciel, No. 8 (juin 1945), pp. 87-99. Rpt. ("Nationalism and Canadian Poetry") in Northern Review, 1, No. 1 (Dec:Jan. 1945-46), 33-42.

B318      "Abraham Moses Klein." Trans. Guy Sylvestre. Gants du Ciel, No. 11 (printemps 1946), pp. 67-81

B319      "Canadian Renaissance." Canadian Author & Bookman, 22, No. 2 (June 1946), 32.

B320      "The Poetry of Duncan Campbell Scott." The Dalhousie Review, 28 (April 1948), 12-21. TVCL; OPP ["The Poetry of Duncan Campbell Scott (1948)"].

B321      "Andrew Marvell (1621-1678): To His Coy Mistress." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 228-30.

B322      "John Donne (1572-1631): The Sun Rising and Batter My Heart." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 224-28.

B323      "John Keats (1795-1821): Ode to a Nightingale." In An Introduction to Literature & the Free Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 301-04.

B324      "Joseph Conrad (1857-1924): Victory." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 362-66.

B325      "Shakespeare: Sonnets." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 114-17.

B326      "Thomas Stearns Eliot (1888-): Gerontion." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 353-56.

B327      "Refining Fire: The Meaning and Use of Poetry." Queen's Quarterly, 61 (Autumn 1954), 353-64. OPP ["Refining Fire: The Meaning and Use of Poetry (1954)"].

B328      "American Pressures and Canadian Individuality: II." The Centennial Review of Arts & Science [Michigan State Univ.], 1 (Fall 1957), 361-71.

B329      "A Garland for E.J. Pratt: The Poet." The Tamarack Review, No. 6 (Winter 1958), pp. 66-67, 69-71. OPP ["A Garland for E. J. Pratt (1958)"].

B330      "Drummond, William Henry." Encylopaedia Britannica, 1960.

B331      "Carman (William), Bliss." Encyclopaedia Britannica, 1961.

B332      "Graham Greene's Theological Thrillers." Queen's Quarterly, 68 (Spring 1961), 15-33.

B333      "A Reading of Anne Wilkinson." Canadian Literature, No. 10 (Autumn 1961), pp. 32-39. Rpt. (revised -- "Introduction: A Reading of Anne Wilkinson") in The Collected Poems of Anne Wilkinson, and a Prose Memoir. New York: St. Martin's, 1968, pp. xiii-xxi. Toronto: Macmillan, 1968, pp. xiii-xxi. TVCL (revised -- "A Reading of Anne Wilkinson").

B334      "A Self-Review." Canadian Literature, No. 15 (Winter 1963), pp. 20-26. TVCL.

B335      "Canadian Poetry. In English." In Princeton Encyclopedia of Poetry and Poetics. Ed. Alex Preminger. Princeton: Princeton Univ. Press, 1965, pp. 97-99.

B336      "Clerihew." In Princeton Encyclopedia of Poetry and Poetics. Ed. Alex Preminger. Princeton: Princeton Univ. Press, 1965, p. 141.

B337      "Light Verse." In Princeton Encyclopedia of Poetry and Poetics. Ed. Alex Preminger. Princeton: Princeton Univ. Press, 1965, pp. 446-49.

B338      "Occasional Verse." In Princeton Encyclopedia of Poetry and Poetics. Ed. Alex Preminger. Princeton: Princeton Univ. Press, 1965, p. 584.

B339      "Scott, Duncan Campbell." Encyclopaedia Britannica, 1965.

B340      "A Rejected Preface." Canadian Literature, No. 24 (Spring 1965), pp. 6-9. TVCL ("A Rejected Preface to New Provinces, 1936").

B341      "Housman: Selections from a Shropshire Lad." In Master Poems of the English Language: Over One Hundred Poems Together with Introductions by Leading Poets and Critics of the English-Speaking World. Ed. Oscar Williams. New York: Trident, 1966, pp. 829-30.

B342      "Pope: The Rape of the Lock." In Master Poems of the English Language: Over One Hundred Poems Together with Introductions by Leading Poets and Critics of the English-Speaking World. Ed. Oscar Williams. New York: Trident, 1966, pp. 285-89.

B343      "A Unified Personality: Birney's Poems." Canadian Literature, No. 30 (Autumn 1966), pp. 4-13. TVCL (revised -- "Earle Birney: A Unified Personality").

B344      "Service, Robert William." Encyclopaedia Britannica, 1967.

B345      "F. R. Scott and Some of His Poems." Canadian Literature, No. 31 (Winter 1967), pp. 25-35. TVCL (revised).

B346      Introduction. Poetry Australia, No. 16 (June 1967), p. 4. A Canadian issue of Poetry Australia, edited by Smith. As guest editor, Smith offers an anthology of Canadian verse which excludes his own. Contains poems by F.R. Scott, P.K. Page, John Newlove, George Bowering, Robert Hogg, Raymond Souster, Louis Dudek, Al Purdy, Irving Layton, Ralph Gustafson, Margaret Avison, Gwendolyn MacEwen, and Margaret Atwood.

B347      "The Canadian Poet: Part I. To Confederation." Canadian Literature, No. 37 (Summer 1968), pp. 614. TVCL (revised -- "The Canadian Poet: To Confederation").

B348      "The Canadian Poet: Part II. After Confederation." Canadian Literature, No. 38 (Autumn 1968), pp. 41-49. TVCL (revised --"The Canadian Poet: After Confederation").

B349      "Canadian Literature: The First Ten Years." Canadian Literature, No. 41 (Summer 1969), pp. 97-103.

B350      "Alden Nowlan." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 806-07.

B351     "F. R. Scott." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 968-70.

B352     "Irving Layton." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 632.-34.

B353     "Jay Macpherson." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, p. 700.

B354      "John Glassco." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 423-25.

B355      "Margaret Avison." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 42-44.

B356      "Ralph Gustafson." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 456-57.

B357      "The Poetry of P. K. Page." Canadian Literature, No. 50 (Autumn 1971), pp. 17-27. Rpt. trans. G. Ceschi ("La Poesie de P. K. Page") in ellipse, No. 18 (1976), pp. 126-38. TVCL ("The Poetry of P. K. Page").

B358      "The Arts: Then and Now." McGill News, Jan. 1972, pp. 23-24.

B359      "Contemporary Canadian Verse." ACSUS Newsletter, 2, No. 2 (Autumn 1972), 61-65.

B360      "Nonsense Poetry and Romanticism." In Essays in Honor of Russel B. Nye. Ed. Joseph Waldmier. East Lansing, Mich.: Michigan State Univ. Press, 1978, pp. 180-94.

B361      "And Some Were Intended to Sell." The Tamarack Review, No. 76 (Winter 1979), pp. 97-101. See B434.

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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309

Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Audio-visual material  

Burke, Anne (compiler)

B452      Six Montreal Poets: A. J. M. Smith, Irving Layton, Leonard Cohen, F.R. Scott, Louts Dudek, and A. M. Klein. Folkways, FL 9805, 1957. The recording was done especially for this release. Smith read "The Archer," "Business as Usual," "Fear as Normal," "A Hyacinth for Edith," "Like an Old Proud King in a Parable," "My Death," "Noctamble," "The Plot against Proteus," and "Sonnet."

B453      CBC Tape and Audition. A.J.M. Smith Reading from Collected Poems. Kellogg Center, Univ. of Michigan. 5 Nov. 1963.

The poems were divided into six sections:

I. "A Poetic Credo and Two Tributes": "Like an Old Proud King in a Parable," "Mallarme: Le Vierge, le vivace et le bel aujourd'hui," "Ode on the Death of William Butler Yeats," and "To a Young Poet."

II. "Evocations of Eros": "Bird and Flower," "The Faithful Heart," "Field of Long Grass," "An Iliad for His Summer Sweetheart," and "To Anthea."

III. " 'Serious' Light Verse": "The Adolescence of Leda," "Ballade un peu banale," "Chinoisene (after Theophile Gautier)," "The Hippopotamus (after Theophile Gautier)," "My Lost Youth," "Three Phases of Punch," and "The Sorcerer."

IV. "Two Gothic Romances": "The Bridegroom" and "Prothalamium."

V. "Devotional Verse": "Calvary," "Canticle of St. John (after Stephane Mallarme)," "The Cry," "The Offices of the First and the Second Hour," and "To Henry Vaughan."

VI. "Speaking about Death": "The Archer," "On Knowing Nothing," "Speaking about Death," "Watching the Old Man Die," and "The Wisdom of Old Jelly Roll."

B454     Bentley, Nelson, Donald Hall, Allen Seager, and A.J.M. Smith. "Tribute to Theodore Roethke." WUOM Radio [Univ. of Michigan, Ann Arbor], May 1965. Brief reminiscences by Smith.

B455      Smith, A. J. M. A memorial broadcast for Theodore Roethke. AMRT and CBC 1963, 1965. The broadcast opened with music from Bach ("Sleepers Awake") and Roethke reading from "The Lost Son" and "I Knew a Woman." Smith read "The Exulting." The program was broadcast twice in the fall of 1963 over the Western and national network of the CBC.

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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309

Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Poems  

Burke, Anne (compiler)

Note: When an item is reprinted in one of Smith's books, this fact is noted in the entry through one of the following abbreviations:

 The Archer ------------------------------------ A
 Canadian Literature of Today and Tomorrow -- CLTT
 The Classic Shade: Selected Poems ------------ CS
 Collected Poems ------------------------------ CP
 News of the Phoenix and Other Poems ---------- NP
 On Poetry and Poets: Selected 
        Essays of A. J. M. Smith ------------ OPP
 Poems: New and Collected -------------------- PNC
 Selected Profane Verse and Sacred 
        Poetry of A. J. M. Smith ------------ SPV
 Some Poems of E. J. Pratt: Aspects of 
        Imagery and Theme ----------------- SPEJP
 A Sort of Ecstasy. Poems: New and Selected --- SE
 Towards a View of Canadian Letters: Selected 
        Critical Essays 1928-1971 ---------- TVCL
 Universe into Stone -------------------------- US
 The University of New Brunswick: Founders' 
        Day Address ------------------------- UNB

Note: In cases where there are more than one edition, the first edition has been used, unless otherwise indicated.

B1     "Sonnet [Although to-day no gleaming cavalcade 18.

B2     "Sylvan Rhapsody." McGill Daily. "The Dilettante," 1 Nov. 1922, p. 3. Ascribed to A. J. M. Smith. Signed: "Jay Ess."

B3     "To an Old Tune." McGill Daily. "The Dilettante," 6 Dec. 1922, p. 3. Signed: "S."

B4     "Beauty Dead." McGill Daily. "The Dilettante," 13 Dec. 1922, p. 3. Signed: "S."

B5     "Conditional Mood." McGill Daily, 10 Jan. 1923, p. 3. Ascribed to A.J.M. Smith. Published anonymously.

B6     "When Thought of Her." McGill Daily. "The Dilettante," 31 Jan. 1923, p. 3. Signed: "S."

B7     "The Danube, 1922." McGill Daily. "The Dilettante," 7 Feb. 1923, p. 3. Ascribed to A.J.M. Smith. Published anonymously.

B8     "Quiet Haven." McGill Daily. "The Dilettante," 21 Feb. 1923, p. 3. Signed: "S."

B9     "Country Walk." McGill Daily. "The Dilettante," 7 March 1923, p. 3. Signed: "S."

B10     "Symbols." Montreal Daily. "The Dilly-Dally," 16 March 1923, p. 3. Signed: "A. S. S." In a parody issue of the McGill Daily.

B11     "Humouresque." McGill Daily. "The Dilettante," 21 March 1923, p. 3. Signed: "S."

B12     "In the City." McGill Daily. "The Dilettante," 21 March 1923, p. 3. Signed: "S."

B13     "Hallowe'en." McGill Daily. "The Dilettante," 31 Oct. 1923, p. 3. Signed: "Tomfool."

B14     "The North Winds in September." McGill Daily. "The Dilettante," 7 Nov. 1923, p. 3. Ascribed to A. J. M. Smith. Signed: "S. M."

B15     "At a Fireside." McGill Daily. "The Dilettante," 5 Dec. 1923, p. 3. Signed: "T. F."

B16     "A Hymn of Hate." McGill Daily. "The Dilettante," 12. Dec. 1923, p. 3. Signed: "TOMFOOL."

B17     "To His Coy Mistress." McGill Daily, 20 Dec. 1923, p. 3. Signed: "Tomfool."

B18     "Ye Epicure Wisheth for Himself a Merne Yuletide." McGill Daily, 20 Dec. 1923, p. 4. Signed: "Tom fool."

B19     "Art for Arts '25's Sake." Old McGill 1925 [Montreal: McGill Univ.], 1924, pp. 49, 309. Signed: "TOMFOOL."

B20     "Kindness to Animals." McGill Daily. "The Dilettante," 23 Jan. 1924, p. 3. Rpt. (revised) in McGill Daily, 14 March 1925, p. 3. Originally signed: "Tomfool." The reprinted version of the poem was published anonymously.

B21     "A Song against Constancy." McGill Daily. "The Dilettante," 12 March 1924, p. 3. Rpt. (revised) in The Saturday Evening Post, 4 April 1925, p. 124. Originally signed: "TOMFOOL."

B22     "Epithalamium." MonGrel Daily. "The Dilly-Dally," 25 March 1924, p. 3. Ascribed to A. J. M. Smith. Signed: "DAMFULL." In a parody issue of McGill Daily.

B23     "Pagan." The Canadian Forum, Sept. 1924, p. 370. CP (revised); PNC.

B24     "The Wave." McGill Daily Literary Supplement, 8 Oct. 1924, p. 4. Signed: "Max."

B25     "Poplar Leaves." McGill Daily Literary Supplement, 15 Oct. 1924, p. 1. Signed: "Max."

B26     "Hellenica." McGill Daily Literary Supplement, 19 Nov. 1924, p. 1. NP (revised); SE; CP ("Hellenica"); PNC ("Hellenica I, II"). Originally signed: "A. J. M. S."

B27     "Sonnet to a Bow-Legged Girl." McGill Daily Literary Supplement, 19 Nov. 1924, p. 3. Ascribed to A. J. M. Smith. Signed: "Jay Ess."

B28     "Requiescunt." McGill Daily Literary Supplement, 3 Dec. 1924, p. 1. Ascribed to A. J. M. Smith. Signed: "Corinna."

B29     "A Song [My heart is like a garden ...]." McGill Daily, 19 Dec. 1924, p. 1. Ascribed to A. J. M. Smith. Signed: "Corinna."

B30     "Grecian Elegy." In Poetry Yearbook 1925. Montreal: Canadian Authors Association, 1925, pp. 25-26.

B31     "Nightfall." In Poetry Yearbook 1925. Montreal: Canadian Authors Association, 1925, p. 27.

B32     "Poem [Let us invert the world, and laugh...]." In The Poets of the Future: A College Anthology for 1924-25. Ed. Henry T. Schnittkind. Boston: Stratford, 1925, p. 182. Rpt. (revised) in McGill Fortnightly Review, 19 Dec. 1925, p. 23. Rpt. (revised "Universe into Stone") in The Adelphi, NS 7 (Jan. 1934), 235-36. SE; US; CP; PNC ("Universe Into Stone").

B33     "Interior." McGill Daily Literary Supplement, 21 Jan. 1925, p. 1. Signed: "Vincent Start."

B34     "Jazz." McGill Daily Literary Supplement, 21 Jan. 1925, p. 3. Signed: "Max."

B35     "Nocturne [The stars are gold pin heads ...]." McGill Daily Literary Supplement, 21 Jan. 1925, p. 1. Signed: "Vincent Starr."

B36     "Vagabond." McGill Daily Literary Supplement, 21 Jan. 1925, p. 4. Signed: "A. J. M. S."

B37     "Vain Comfort." McGill Daily Literary Supplement, 28 Jan. 1925, p. 1. Signed: "S."

B38     "The Smile." The Canadian Forum, Feb. 1925, p. 149. Rpt. trans. Rina Lasnier ("Je me souviendrai") in Canadian Literature, No. 39 (Winter 1969), p. 31. NP (revised- "I Shall Remember"); CP; PNC.

B39     "The Ascetic Who Found Another Way." McGill Daily Literary Supplement, 4 Feb. 1925, p. 3. Signed: "A. J. M. S."

B40     "Irony." McGill Daily Literary Supplement, 4 Feb. 1925, p. 1. Signed: "Vincent Starr."

B41     "Light O' Love." McGill Daily Literary Supplement, 4 March 1925, p. 1. Signed: "Vincent Starr."

B42     "Prayer." McGill Daily Literary Supplement, 11 March 1925, p. 1. Rpt. (revised -- "For a Canadian Anthology") in McGill News, Supplement, 8, No. 2 (March 1927), 23. Rpt. trans. William Shand and Alberto Girri ("Para encerrar en un poema") in Sur, No. 240 (May-June 1956), p. 58. SE (revised "To Hold in a Poem"); CP; PNC. Originally signed: "A. J. M. S."

B43     "Song [O when the airs of April...]." McGill Daily Literary Supplement, 11 March 1925, p. 2. Rpt. (revised) in The Measure, No. 50 (April 1925), p. 15. Originally signed: "Max."

B44     "Song [O love, that you and I...]." The Measure, No. 50 (April 1925), p. 15.

B45     "The Wistful Going." The Canadian Student, 8, No. 2 (Nov. 1925), 41.

B46     "Not of the Dust." McGill Fortnightly Review, 21 Nov. 1925, p. 3. Rpt. (revised -- "The Sorcerer") in Queen's Quarterly, 61 (Summer 1954), 229. Rpt. (revised) in Maclean's, 20 Oct. 1962, p. 33. Rpt. in ellipse, No. 22 (1978), p. 68. Rpt. trans. Yves Merzisen ("Le sorcier") in ellipse, No. 22 (1978), p. 69. SE ("The Sorcerer"); CP; PNC; CS.

B47     "What Strange Enchantment." McGill Fortnightly Review, 21 Nov. 1925, p. 7. CP (revised); PNC; CS. Signed: "Vincent Starr."

B48     Letter. McGill Daily, 1 Dec. 1925, p. 2. Parody of his own poem "Not of the Dust" (B46).

B49     "The Cry of a Wandering Gull." McGill Fortnightly Review, 5 Dec. 1925, P. 12. Signed: "Vincent Starr."

B50     "The Woman in the Samovar." McGill Fortnightly Review, 5 Dec. 1925, p. 15. CP (revised, excerpt -- "They Say"); PNC. Originally signed: "Michael Gard."

B51     "Felicity." McGill Fortnightly Review, 19 Dec. 1925, p. 19. Signed: "Vincent Starr."

B52     "Ascensions." McGill Fortnightly Review, 9 Jan. 1926, p. 36. Signed: "Vincent Starr."

B53     "Epitaph [Stranger, weep not on this stone ...]." McGill Fortnightly Review, 9 Jan. 1926, p. 30. Rpt. (revised) in Voices, 5, No. 8 (June 1926), 289. Rpt. (revised) in The Canadian Forum, Aug. 1928, p. 745. Rpt. in The Bermondsey Book, 6, No. 2 (March-April-May 1929), 5. NP; CP (revised); PNC.

B54     "The Lonely Land: Group of Seven." McGill Fortnightly Review, 9 Jan. 1926, p. 30. Rpt. (revised -- "The Lonely Land") in The Canadian Forum, July 1927, p. 309. Rpt. (revised) in The New Outlook, 5 Oct. 1927, p. 8. Rpt. (revised) in The Dial, June 1929, pp. 495-96. Rpt. in ellipse, No. 22 (1978), pp. 84, 86. Rpt. trans. Pierre Nepveau ("Un pays seul") in ellipse, No. 22 (1978), pp. 85, 87. NP (revised -- "The Lonely Land"); SE; CP (revised); PNC; CS.

B55     "Here Lies an Honest Man." McGill Fortnightly Review, 23 Jan. 1926, p. 42. Signed: "Vincent Starr."

B56     "Punchinello in a Purple Hat." McGill Fortnightly Review, 23 Jan. 1926, p. 42. Rpt. (revised -- "Varia") in McGill Fortnightly Review, 25 March 1927, 62. Rpt. (revised) in Voices, 6, No. 8 (July 1927), 12-13. Rpt. (revised) in The Canadian Forum, Sept. 1927, pp. 372-73. Rpt. (revised) in The London Aphrodite, No. 5 (April 1929), 38283. CP (revised -- "Three Phases of Punch"); PNC ("Three Phases of Punch I," "Three Phases of Punch II," "Three Phases of Punch III"). Originally signed: "Michael Gard."

B57     "Silver Birch." McGill Fortnightly Review, 6 Feb. 1926, p. 51. Signed: "S."

B58     "Summer Warning." McGill Fortnightly Review, 6 Feb. 1926, p. 52. Rpt. (revised) in The Measure, No. 62. (April 1926), p. 8. Originally signed: "Vincent Starr."

B59     "Chiaroscuro." McGill Fortnightly Review, 20 Feb. 1926, p. 57.

B60     "Save in Frenzy." McGill Fortnightly Review, 20 Feb. 1926, p. 58. Signed: "Vincent Starr."

B61     "Portrait." McGill Daily, 24 Feb. 1926, p. 2. Signed: "Simeon Lamb."

B62     "Legend." McGill Fortnightly Review, 6 March 1926, 65. Rpt. (revised -- "The Mermaid") in Poetry [Chicago], 58 (April 1941), 10-11. SE; CP; PNC; CS. Originally signed: "Vincent Starr."

B63     "Nocturne [Piling the comforters about the bed ...]." McGill Fortnightly Review, 6 March 1926, p. 66. Signed: "Michael Gard."

B64     "Proud Parable." McGill Fortnightly Review, 6 March 1926, p. 65. Signed: "S."

B65     "Haste Thee." McGill Daily, 10 March 1926, p. 2. Rpt. (revised -- "The Shrouding") in McGill Fortnightly Review, 27 April 1927, p. 79. Rpt. in The Dial, 85 (Nov. 1928), 414-15. NP; CP; PNC. Originally signed: "Vincent Starr." Published in McGill Fortnightly Review with "Beside One Dead" (B91) and "Two Epitaphs" (B95) under the heading "Undertaker's Anthology."

B66     "Journey." McGill Daily, 17 March 1926, p. 2. Rpt. (revised) in The Dial, July 1928, [p. 51]. Rpt. trans. Rina Lasnier ("Cheminement") in Canadian Literature, No. 39 (Winter 1969), p. 30. NP (revised -- "Journey"); CP; PNC. Originally signed: "Michael Gard."

B67     "The Bird." McGill Fortnightly Review, 22 March 1926, p. 75. Rpt. (revised) in The Measure, No. 62 (April 1926), p. 7. Rpt. (revised) in The Canadian Forum, June 1927, p. 271. Rpt. (revised) in The New Outlook, 21 Sept. 1927, pp. 14, 15. CP; PNC. Originally signed: "S."

B68      "Pastorale." McGill Fortnightly Review, 22 March 1926, p. 73. Rpt. (revised -- "Chanson un Peu Banale") in Voices, 6, No. 5 (Feb.-March 1927), 171. Rpt. in The New Outlook, 15 June 1927, p. 8. Rpt. (revised -- "Ballade un peu banale") in New Verse, No. 9 (June 1934), pp. 13-14. Rpt. (revised) in Bozart, 9, No. 1 -- Westminster, 24, No. 1 (Spring-Summer 1935), 16-17. SPV (revised); CP (revised); PNC; CS ("Ballade un Peu Banale"). Originally signed: "Vincent Starr."

B69     "A Poem [Spread your long arms ...]." McGill Fortnightly Review, 22 March 1926, p. 78. Rpt. (revised -- "For Healing") in The Canadian Forum, Dec. 1940, p. 278. NP; CP; PNC; CS.

B70     "The Athletic Levy." McGill Fortnightly Review, 22 March 1926, p. 80. Signed: "Simeon Lamb." Published with "Epitaph" (B71), "McGill Daily" (B72), and "Professor Windbag" (B73) under the heading "Trivia."

B71     "Epitaph." McGill Fortnightly Review, 22 March 1926, p. 80. Signed: "Simeon Lamb." Published with "The Athletic Levy" (B70), "McGill Daily" (B72), and "Professor Windbag" (B73) under the heading "Trivia."

B72     "McGill Daily." McGill Fortnightly Review, 22 March 1926, p. 8. Signed: "Simeon Lamb." Published with "The Athletic Levy" (B70), "Epitaph" (B71), and "Professor Windbag" (B73) under the heading "Trivia."

B73     "Professor Windbag." McGill Fortnightly Review, 22 March 1926, p. 80. Signed: "Simeon Lamb." Published with "The Athletic Levy" (B70), "Epitaph" (B71), and "McGill Daily" (B72) under the heading "Trivia."

B74     "Leda." McGill Fortnightly Review, 3 Nov. 1926, p. 7.

B75     "Tailpiece." McGill Fortnightly Review, 3 Nov. 1926, p. 8. Signed: "Vincent Starr."

B76     "Theolog at the Symphony." McGill Fortnightly Review, 3 Nov. 1926, p. 2. Signed: "S."

B77     "The Moment and the Lamp." McGill Fortnightly Review, 17 Nov. 1926, p. 15.

B78     "The Two Sides of a Drum." The Dial, Dec. 1926, p. 482. Rpt. (revised) in The New Outlook, 2 Feb. 1927, p. 27. NP (revised); CP; PNC; CS.

B79     "Epitaph [Stranger, this stone standing here ...]." McGill Fortnightly Review, 1 Dec. 1926, p. 23.

B80     "For Ever and Ever, Amen." McGill Fortnightly Review, 1 Dec. 1926, p. 23.

B81     "Something Apart." McGill Fortnightly Review, 1 Dec. 1926, p. 23. CP (revised -- "The Two Birds"); PNC; CS.

B82     "College Spirit." McGill Fortnightly Review, 15 Dec. 1926, p. 32. Signed: "Vincent Start."

B83     "Etude in a Minor Key." McGill Daily, 15 Dec. 1926, p. 2. Signed: "Michael Gard."

B84     "Flame and Fountain." McGill Fortnightly Review, 15 Dec. 1926, p. 29. Rpt. (revised) in The New Outlook, 18 May 1927, p. 6.

B85     "Homage to E.S." McGill Fortnightly Review, 2 Feb. 1927, p. 34. Rpt. (revised -- "A Hyacinth for Edith") in The Canadian Forum, July 1930, p. 369. Rpt. (revised) in The Adelphi, NS 8 (April 1934), 37. NP; SE; CP (revised); PNC; CS.

B86     "Panic." McGill Fortnightly Review, 2 Feb. 1927, p. 36. Signed: "S."

B87     "Poem [When I was arrested for drunkenness...]." McGill Fortnightly Review, 18 Feb. 1927, p. 47. Signed: "Michael Gard."

B88     "Twilight." McGill Fortnightly Review, 18 Feb. 1927, p. 45. Rpt. (revised -- "'My Lost Youth'") in The Tamarack Review, No. 29 (Autumn 1963), p. 67. Rpt. in English Poetry in Quebec: Proceedings of the Foster Poetry Conference October 12-14 1963. Ed. John Glassco. Montreal: McGill Univ. Press, 1965, p. 130. PNC ("My Lost Youth"); CS.

B89     "Sermon." McGill Fortnightly Review, 10 March 1927, p. 50. Signed: "Vincent Starr."

B90     "Testament." McGill Fortnightly Review, 10 March 1927, p. 56. Rpt. (revised) in The New Outlook, 20 July 1927, p. 6. Rpt. (revised) in The Canadian Forum, Aug. 1930, p. 402..

B91     "Beside One Dead." McGill Fortnightly Review, 27 April 1927, p. 79. NP (revised); CP (revised); PNC. Initially published with "The Shrouding" (B65) and "Two Epitaphs" (B95) under the heading "Undertaker's Anthology."

B92     "Field of Long Grass." McGill Fortnightly Review, 27 April 1927, p. 68. SE (revised); CP; PNC; CS. Originally signed: "Michael Gard."

B93     "The Shepherd's Lament." McGill Fortnightly Review, 27 April 1927, p. 76. Signed: "Corydon."

B94     "To Evening." McGill Fortnightly Review, 27 April 1927, p. 73. Signed: "Vincent Starr."

B95     "Two Epitaphs [I. Under this grassy mound .... ] [II. Say not of this lady ...]." McGill Fortnightly Review, 27 April 1927, p. 79. Rpt. (revised -- "In the Churchyard at South Durham, Quebec") m Canadian Literature, No. 15 (Winter 1963), p. 18. PNC (revised); CS. Initially published with "Beside One Dead" (B91) and "The Shrouding" (B65) under the heading "Undertaker's Anthology."

B96     "Shadows There Are." The Nation, 15 June 1927, p. 671. Rpt. trans. Rina Lasnier ("leux d'ombres") in Canadian Literature, No. 39 (Winter 1969), p. 29. Rpt. ("Shadows There Are") in ellipse, No. 22 (1978), p. 86. Rpt. trans. Rina Lasmer ("Jeux d'ombres") in ellipse, No. 22 (1978), p. 87. NP ("Shadows There Are"); CP; PNC; CS.

B97     "Nightfall [All day within the winding gardens ...]." The Canadian Forum, Feb. 1928, p. 550. Rpt. (revised) in Commonweal [N.Y.], 23 July 1930, p. 324. CP (revised -- "Nightfall: Fin de siecle"); PNC.

B98     "Prothalamium." The Dial, July 1928, p. 51. NP (revised); CP (revised); PNC; CS.

B99     "Cavalcade." The Canadian Forum, Aug. 1928, p. 745. CS.

B100     "The Creek." The Dial, Nov. 1928, p. 414. Rpt. (revised) in ellipse, No. 22 (1978), p. 82. Rpt. trans. Yves Merzisen ("Le ruisseau") in ellipse, No. 22 (1978), p. 83. NP (revised -- "The Creek"); SE; CP (revised); PNC; CS.

B101     "Proud Parable." Canadian Mercury, t (Dec. 1928), 15. Rpt. (revised -- "Like an Old Proud King in a Parable") in Hound & Horn, 5 (Jan.March 1932), 207. Rpt. trans. Rina Lasnier ("Le roi de la parabole") in Canadian Literature, No. 39 (Winter 1969), p. 28. Rpt. ("Like an Old Proud King in a Parable") in ellipse, No. 22 (1978), p. 64. Rpt. trans. Rina Lasnier ("Le roi de la parabole") in ellipse, No. 22 (1978), p. 65. NP (revised -- "Like an Old Proud King in a Parable"); CP; PNC; CS. Originally signed: "A. J. Smith."

B102     "Good Friday: To M.M." Canadian Mercury, 1 (March 1929), 87. Rpt. (revised) in Poetry [Chicago], 46 (May 1935), 82-83. Rpt. ("Good Friday") in ellipse, No. 22 (1978), p. 76. Rpt. trans. ("Vendredi Saint") in ellipse, No. 22 (1978), p. 77. NP (revised -- "Good Friday"); SPV (revised); CP; PNC (revised).

B103     "The Circle." Canadian Mercury, i (April-May 1929), 102. Rpt. (revised) in The Rotarian, 46 (April 1935), 45. SE (revised); CP (revised); PNC.

B104     "In the Wilderness." The Canadian Forum, April 1930, p. 239. Rpt. (revised) in Hound & Horn, 5 (Jan.-March 1932), 206-07. NP (revised); CP; PNC.

B105     "Sea Cliff." The Canadian Forum, June 1930, p. 332. Rpt. (revised) in ellipse, No. 22 (1978), p. 80. Rpt. trans. Yves Merzisen ("Falaise") in ellipse, No. 22 (1978), p. 81. NP (revised --"Sea Cliff"); SE; CP; PNC; CS.

B106     "Swift Current." The Canadian Forum, June 1930, p. 332. NP (revised); SE; CP; PNC; CS.

B107     "Ode to Good Form." The Canadian Forum, April 1931, p. 256.

B108     ["This is a theme for muted coronets .... "] Hound & Horn, 5 (Jan.-March 1932), 206. Rpt. (revised "The Plot Against Proteus") in Adam International Review, 32, Nos. 313-315 (1967), 47. Rpt. in ellipse, No. 22 (1978), p. 66. Rpt. trans. Yves Merzisen ("Le complot contre Protee") in ellipse, No. 22 (1978), p. 67. NP ("The Plot Against Proteus"); SE ("The Plot against Proteus"); CP; PNC ("The Plot Against Proteus"); CS ("The Plot against Proteus").

B109     "News of the Phoenix." New Verse, No. 6 (Dec. 1933), P. 10. Rpt. (revised) in Vice Versa, 1, No. 1 (Nov.-Dec. 1940), 7. Rpt. trans. Rina Lasnier ("Rumeurs") in Canadian Literature, No. 39 (Winter 1969), p. 30. Rpt. (revised -- "News of the Phoenix") in Red Cedar Review, 7, Nos. 3-4 (Summer 1971), p. 50. NP (revised); CP (revised); PNC; CS.

B110      "The Offices of the First and the Second Hour." New Verse, No. 6 (Dec. 1933), P. 10. Rpt. (revised) in The Rocking-Horse [Univ. of Wisconsin], 2, No. 3 (Spring 1935), 7. Rpt. (revised -- "The Offices of the First and the Second Hour") in ellipse, No. 22 (1978), p. 78. Rpt. trans. Leo A. Brodeur ("Les offices de Matines et de Laudes") in ellipse, No. 22 (1978), p. 79. NP (revised -- "The Offices of the First and the Second Hour"); CP (revised); PNC.

B111      "The Fountain." The Adelphi, NS 7 (Jan. 1934), 236. NP (revised); CP (revised); PNC; CS.

B112      "Resurrection of Arp." New Verse, No. 8 (April 1934), pp. 2-3. Rpt. in Bozart, 9, No. 1 -Westminster, 24, No. 1 (Spring-Summer 1935), 17. SE (revised); CP (revised); PNC; CS.

B113      "The Crows." Poetry [Chicago], 44 (July 1934), 197-98. CP (revised); PNC. Printed in Poetry [Chicago] along with "A Soldier's Ghost" (B114) and "To a Young Poet" (B115) under the heading "Emblems of Air."

B114      "A Soldier's Ghost." Poetry [Chicago], 44 (July 1934), 198-99. NP (revised); SE; CP (revised); PNC; CS. Printed in Poetry [Chicago] along with "The Crows" (B113) and "To a Young Poet" (B115) under the heading "Emblems of Air."

B115     "To a Young Poet." Poetry [Chicago], 44 (July 1934), 197. Rpt. trans. Rma Lasnier (revised -- "a un jeune poete") in Canadian Literature, No. 39 (Winter 1969), p. 29. Rpt. in ellipse, No. 22 (1978), p. 63. Rpt. ("To a Young Poet") in ellipse, No. 22 (1978), p. 62. NP (revised); CP (revised); PNC; CS. Printed in Poetry [Chicago] along with "The Crows" (B113) and "A Soldier's Ghost" (B114) under the heading "Emblems of Air."

B116     "Noctambule." The Rocking-Horse [Univ. of Wisconsin], 2, No. 3 (Spring 1935), 8. Rpt. (revised) in New Verse, No. 22 (Aug.-Sept. 1936), p. 8. Rpt. (revised) in ellipse, No. 22 (1978), p. 70. Rpt. trans. Pierre Nepveau in ellipse, No. 22 (1978), p. 71. NP (revised); SE (revised); CP (revised); PNC; CS (revised).

B117      "Calvary." The Rotarian, 46 (April 1935), 45.Rpt. in Poetry [Chicago], 62 (April 1943), 20. NP; CP; PNC; CS.

B118      "Son-and-Heir." New Verse, No. 15 (June 1935), pp. 3-4. Rpt. in The Rocking-Horse [Univ. of Wisconsin], 2, No. 4 (Summer 1935), 7. Rpt. in New Frontier, 1, No. 4 (July 1936), 14. NP (revised); CP ("Son-and-Heir 1930"); PNC; CS ("Son-and-Heir: 1930").

B119     "Arp's Randy Rant in the Comfy Confession Box." New Verse, No. 18 (Dec. 1935), p. 11.

B120      "Quietly to Be Quickly, or Other or Ether, a Song or a Dance." New Verse, No. 18 (Dec. 1935), pp. 11-12. SE (revised); CP (revised -- "Quietly to Be Quickly or Other or Ether: A Song or a Dance"); PNC.

B121 "Chorus." New Verse, No. 22 (Aug.-Sept. 1936), p. 8. Rpt. (revised -- "Poem") in New Frontier, 1, No. 5 (Sept. 1936), 24. NP (revised -- "Chorus"); CP ("Choros"); PNC; CS.

B122     "The Face." New Verse, No. 22 (Aug.-Sept. 1936), p. 7. Rpt. (revised) in The Canadian Forum, Sept. 1936, p. 24. Rpt. (revised) in Contemporary Verse, 1, No. 1 (Sept. 1941), 11. NP.

B123     "The Natural." New Frontier, 1, No. 5 (Sept. 1936), 8. Rpt. (revised -- "Poor Innocent") in New Verse, No. 28 (Jan. 1938), p. 5. Rpt. (revised) in Voices, No. 113 (Spring 1943), p. 19. NP (revised); CP; PNC; CS (revised).

B124      "Poem." New Frontier, 1, No. 5 (Sept. 1936), 25.

B125      "Political Note." Contemporary Poetry and Prose [London, Eng.], Nov. 1936, pp. 130-31. SE (revised -- "Political Intelligence"); CP; PNC; CS.

B126      "Preceptors of the Heart." The Canadian Forum, Dec. 1936, p. 26. Rpt. (revised -- "To the Christian Doctors") in Poetry [Chicago], 62 (July 1943), 200. NP; CP (revised); PNC; CS (revised).

B127      "The Archer." The Canadian Forum, Jan. 1937, p. 24. Rpt. (revised) in Contemporary Poetry [Baltimore], 3, No. 3 (Autumn 1943), 11. NP; SE; A; CP; PNC; CS.

B128      "The Bridegroom." The Canadian Forum, Jan. 1939, p. 308. SE (revised); CP (revised); PNC; CS.

B129      "Far West." Twentieth Century Verse, Nos. 15-16 (Feb. 1939), 148. Rpt. (revised) in Voices, No. 113 (Spring 1943), p. 19. NP; CP (revised); PNC; CS.

B130      "The Faithful Heart." The Right Review, No. 9 (April 1939), p. [13]. NP (revised); CP; PNC; CS.

B131     "On Reading an Anthology of Modern Canadian Poetry." The Canadian Forum, Dec. 1940, p. 278. Rpt. (revised -- "On Reading an Anthology of Popular Poems") in Poetry [Chicago], 62 (July 1943), 200-01. NP (revised -- "On Reading an Anthology of Popular Poetry"); CP; PNC.

B132     "A Portrait, and a Prophecy." The Canadian Forum, Dec. 1940, p. 278. Rpt. (revised) in Poetry [Chicago], 62 (July 1943), 201-02. NP; SE (revised); CP (revised); PNC; CS.

B133      "Ode: On the Death of W. B. Yeats." Vice Versa, i, No. 2 (Jan.-Feb. 1941), 3-4. Rpt. (revised) in Canadian Review of Music and Art, 3, Nos. 3-4 (April-May 1944), 35. NP; SE ("Ode: On the Death of William Butler Yeats"); CP; PNC; CS.

B134      "The Cry." Poetry [Chicago], 58 (April 1941), 11. NP (revised); CP (revised); PNC (revised); CS.

B135      "Surrealism in the Service of Christ." Poetry [Chicago], 58 (April 1941), 9-10.

B136      "Ode: The Eumenides." Canadian Poetry Magazine, 5, No. 4 (Aug. 1941), 24-25. Rpt. (revised -- "The Eumenides") in Vice Versa, 1, Nos. 3-5 (Jan. 1942), 36-37. Rpt. (revised -- "Ode: The Eumenides") in The Canadian Forum, Oct. 1943, p. 155. Rpt. (revised) in ellipse, No. 22 (1978), pp. 92, 94, 96. Rpt. trans. Arlette Franciere ("Ode: les eumenides") in ellipse, No. 22 (1978), pp. 93, 95, 97. NP (revised --"Ode: The Eumenides"); SE (revised); CP (revised); PNC; CS. The revisions which date from 1954 include a version of "On Seeing Pictures of the War Dead" (B138) as Part II of "Ode: The Eumenides."

B137      "With Sweetest Heresy." Maryland Quarterly, No. 2 (1944), p. 39. Rpt. in Meanjm Papers [Australia], 3 (Summer 1944), 149. Rpt. (revised) in The Canadian Forum, Dec. 1944, p. 204. SE (revised); CP (revised); PNC.

B138      "On Seeing Pictures of the War Dead." The Canadian Forum, Dec. 1944, p. 204. Rpt. in Contemporary Poetry [Baltimore], 6, No. 3 (Autumn 1946), 6-7. Rpt. (revised -- "Ode: The Eumenides") in ellipse, No. 22 (1978), pp. 92, 94, 96. Rpt. trans. Arlette Franciere ("Ode: les eumenides") in ellipse, No. 22 (1978), pp. 93, 95, 97. SE (revised -- "Ode: The Eumenides"); CP (revised); PNC; CS. The revisions which date from 1954 include "Ode: The Eumenides" (B136) as Parts I and III of the poem entitled "Ode: The Eumenides."

B139      "Poem [A spiritual pigeon catapults the ...]." The Canadian Forum, Dec. 1944, P. 204. Rpt. (revised -- "Bird and Flower") in Contemporary Poetry [Baltimore], 6, No. 3 (Autumn 1946), 6. SE (revised); CP (revised); PNC; CS.

B140     "The Common Man." The Canadian Forum, Dec. 1945, p. 213. SE (revised); CP; PNC.

B141      "The Dead." Northern Review, 1, No. 1 (Dec.-Jan. 1945-46), 43-44. SE; CP; PNC.

B142      "Business as Usual." Reading, 1, No. 1 (Feb. 1946), 30. Rpt. (revised) in The Fiddlehead, No. 4 (Feb. 1946), p. [3]. Rpt. in The Fiddlehead. A Canadian Anthology: Poems from The Fiddlehead, 1945-1959, No. 50 (Fall 1961), p. 54. SE (revised -- "Business as Usual: 1946"); CP; (revised); PNC ("Business as Usual 1946").

B143      "Souvenir du Temps Perdu." here and now, 1, No. 2 (May 1948), p. 72. Rpt. in The Tamarack Review, No. 41 (Autumn 1966), p. 21. SE (revised "Souvenirs du Temps Perdu"); CP ("Souvenirs du temps perdu"); PNC; CS ("Souvenirs du Temps Perdu").

B144      "Tree." here and now, 1 (May 1948), p. 72. SE (revised); CP (revised); PNC.

B145      "Narcissus." Contemporary Verse, No. 36 (Fall 1951), pp. 21-22. SE (revised -- "A Dream of Narcissus"); CP; PNC.

B146      "Astraea Redux." CIV/n, No. 6 [1954], p. 11. CP (revised -- "Astraea Redux: Keewaydin Poetry Conference"); PNC.

B147      "On Knowing Nothing." The Nation, 24 March 1956, p. 240. CP (revised -- "On Knowing Nothing"); PNC; CS.

B148      "Eden's Isle." Queen's Quarterly, 63 (Winter 1956-57), [597]. CP; PNC (revised).

B149 ["'I smell, you smell, we all smell,' I wrote. Alas, .... "] The Canadian Forum, Jan. 1957, p. 237. Contained in letter to the editor.

B150 "This Flesh Repudiates the Bone." The Tamarack Review, No. 2 (Winter 1957), p. 38. CP (revised); PNC ("Metamorphosis"); CS.

B151 "What Is That Music High in the Air?". The Tamarack Review, No. 2 (Winter 1957), p. 38. Rpt. (revised) in Michigan's Voices, 2, No. 2 (Winter 1961-62), 13. CP; PNC ("What is That Music High in the Air?"); CS ("What Is That Music High In the Air?").

B152      "What the Emanation of Casey Jones Said to the Medium." The Nation, 12 Jan. 1957, p. 44. CP; PNC; CS (revised).

B153      "On Reading Certain Poems and Epistles of Irving Layton and Louis Dudek." The Canadian Forum, May 1957, pp. 41-42.

B154      "A Narrow Squeak." The Nation, 1 June 1957, p. 483. CP ("A Narrow Squeak: Variations on a Theme of Anne Wilkinson"); PNC; CS.

B155      "The Convolvulus." Pan, No. 2 (1958), n. pag. CP (revised); PNC; CS. Initially printed with "To the Haggard Moon" (B157) and "Wild Raspberry" (B158) under the heading "An Offering: Three Poems for Eustace Ross."

B156      "Thomas Moore and Sweet Annie." Pan, No. 2 (1958), n. pag. CP (revised); PNC; CS.

B157      "To the Haggard Moon." Pan, No. 2 (1958), n. pag. CP; PNC. Initially printed with "The Convolvulus" (B155) and "Wild Raspberry" (B158) under the heading "An Offering: Three Poems for Eustace Ross."

B158      "Wild Raspberry." Pan, No. 2 (1958), n. pag. CP (revised); PNC; CS. Initially printed with "The Convolvulus" (B155) and "To the Haggard Moon" (B157) under the heading "An Offering: Three Poems for Eustace Ross."

B159      "Le Vierge, le Vivace et le Bel Aujourd'hui." The Nation, 11 Jan. 1958, p. 35. CP (revised --"Le Vierge, Le Vivace et Le Bel aujourd'hui"); PNC; CS ("Le Vierge, le Vivace et le Bel Aujourd'hui").

B160      "Variations on a Theme of Cavalcanti." The Nation, 15 March 1958, p. 236. CP (revised -- "A Pastoral"); PNC; CS.

B161     "My Death." Queen's Quarterly, 65 (Summer 1958), [291]. Rpt. (revised -- "My Death") in ellipse, No. 22 (1978), p. 88. Rpt. trans. Louise Gareau-Des Bois ("Ma mort") in ellipse, No. 22 (1978), p. 89. CP (revised -- "My Death"); PNC; CS.

B162     "Song: (Made in Lieu of Many Ornaments)." The Tamarack Review, No. 10 (Winter 1959), p. 35. CP ("Song Made in Lieu of Many Ornaments"); PNC ("Song: Made in Lieu of Many Ornaments").

B163     "Speaking About Death (Blues for Mentor Williams)." The Tamarack Review, No. 10 (Winter 1959), p. 38. Rpt. (revised) in Michigan's Voices, 2, No. 2 (Winter 1961-62), 13. CP ("Speaking about Death: Blues for Mentor Williams"); PNC.

B164     "To Henry Vaughan." The Tamarack Review, No. 10 (Winter 1959), pp. 36-37. CP (Revised); PNC; CS.

B165     "To Jay Macpherson." The Tamarack Review, No. 10 (Winter 1959), p. 37. CP ("To Jay Macpherson on Her Book of Poems"); PNC; CS; OPP.

B166     "Tit for Tat." The Canadian Forum, March 1960, p. 167. Signed: "A. J. M. S."

B167     "To Irving Layton (On His Passion for the First Lady)." The Canadian Forum, April 1961, p. 4. CS (revised -- "To Irving Layton, on His Love Poem to Mrs. Jacqueline Kennedy, Then First Lady").

B168      "At Mycenae." Michigan's Voices, 2, No. 2 (Winter 1961-61), 14.

B169      "Prologue to a Poetry Reading: Address to the Audience." Michigan's Voices, 2, No. 2 (Winter 1961-62), 12.

B170      "The Swan & the Dove." Michigan's Voices, 2, No. 2 (Winter 1961-62), 12.. CP ("The Swan and the Dove"); PNC.

B171      "Walking in a Field, Looking Down and Seeing a White Violet." Canadian Literature, No. 15 (Winter 1963), p. 19. PNC; CS.

B172      "The Devil Take Her-- and Them." The Tamarack Review, No. 26 (Winter 1963), p. 95. Rpt. ("The Devil Take Her -- And Them") in Delta [Montreal], No. 20 (Feb. 1963), p. 23. PNC (revised); OPP ["The Devil Take Her --And Them (1962)"]; CS ("The Devil Take Her -- and Them").

B173      "Equestrian." Delta [Montreal], No. 21 (May 1963), p. 18.

B174      "On Our Haste to Get Nuclear War-Heads." Delta [Montreal], No. 21 (May 1963), p. 28.

B175      "Wedding Night." Delta [Montreal], No. 21 (May 1963), p. 18. Rpt. (revised) in The Tamarack Review, No. 41 (Autumn 1966), p. 21.

B176      "The Adolescence of Leda." The Tamarack Review, No. 29 (Autumn 1963), p. 69. PNC.

B177      "An Iliad for His Summer Sweetheart." The Tamarack Review, No. 29 (Autumn 1963), p. 66. PNC; CS.

B178      "Death and the Lady." Canadian Poetry, 27 (Nov. 1963), 7.

B179      "No Knife Needed." Canadian Poetry, 27 (Nov. 1963), 7. PNC (revised).

B180      "Watching the Old Man Die." The Canadian Forum, Jan. 1964, p. 227. Rpt. (revised) in English Poetry in Quebec: Proceedings of the Foster Poetry Conference October 12-14 1963. Ed. John Glassco. Montreal: McGill Univ. Press, 1965, p. 131. PNC; CS.

B181      "In Memoriam: E.J.P." The Tamarack Review, No. 32. (Summer 1964), pp. 38-39. PNC (revised); CS (revised).

B182 ["'THOSE ARE PEARLS & C.' ..."] Yes, No. 14 (Sept. 1965), p. [30].

B183     "A Little Night Piece." The Tamarack Review, No. 41 (Autumn 1966), p. 20. PNC (revised); CS.

B184      "On the Appointment of Ralph Gustafson, Esq., as Poet in Residence at Bishop's University." The Tamarack Review, No. 41 (Autumn 1966), p. 21. Rpt. in Mitre, No. 2 (1966-67), p. 10. PNC; CS. Signed: "A. J. M. S." in Mitre.

B185      "Souvenirs du Temps Bien Perdu." The Tamarack Review, No. 41 (Autumn 1966), p. 21. PNC ("Souvenirs du temps bien perdu").

B186      "The Taste of Space." Saturday Night, Nov. 1966, p. 48. PNC; CS.

B187      "Poet in Residence." Mitre, No. 2 (1966-67), p. 9. CS ("Poet in Residence, Bishop's University"); OPP ["Poet in Residence, Bishop's University: For Ralph Gustafson (1965)"].

B188      "The Birches." Quarry, 16, No. 4 (Summer 1967), [back cover]. Rpt. (revised) in Canadian Literature, No. 36 (Spring 1968), p. 97. PNC (revised -"Birches at Drummond Point").

B189      "Verses to Frank Scott, Esq. on the Occasion of fits 70th Birthday." McGill News, 50, No. 6 (Nov. 1969), 8. Rpt. (revised -- "To Frank Scott, Esq. on the occasion of his seventieth birthday") m The Canadian Forum, April-May 1970, p. 12. CS ("To Frank Scott, Esq., on the Occasion of His Seventieth Birthday"); OPP ["To Frank Scott, Esq. On the Occasion of his Seventieth Birthday (1969)"].

B190      "Angels exist, and sonnets are not dead." The Canadian Forum, April-May 1970, p. 33. Rpt. (revised -- "Angels Exist, and Sonnets are not Dead") in Red Cedar Review, 7, Nos. 3-4 (Summer 1971), 52. Rpt. (revised) in Outposts [Surry, Eng.], No. 100 (Spring 1974), p. 15. CS (revised -- "Angels Exist, and Sonnets Are Not Dead").

B191      "A Little Death to Laugh About." The Centennial Review, 15 (Fall 1971), 426-27.

B192      "Lines Written on the Occasion of President Nixon's Address to the Nation, May 8, 1972." Poetry [Chicago], 120 (Sept. 1972), 335-36. Rpt. ("Lines Written on the Occasion of President Nixon's Address to the Nation, May 8, 1972") in ellipse, No. 22 (1978), pp. 72, 74. Rpt. trans. Monique Grandmangin ("Lignes ecrites A l'occasion du discours a nation du President Nixon, le 8 mal 1972") in ellipse, No. 22 (1978), pp. 73, 75.

B193      ["A fat willing girl of Toronto ...."] In Colombo's Little Book of Canadian Proverbs, Graffiti, Limericks & Other Vital Matters. Ed. John Robert Colombo. Edmonton: Hurtig, 1975, p. 39.

B194      "On Reading Layton's 'Poetry as the Fine Art of Pugilism.'" Northern Journey, No. 6 (June 1976), p. 97.

B195      "The Wisdom of Old Jelly Roll." ellipse, No. 22 (1978), p. 90. Rpt. trans. Louise Gareau-Des Bois ("La sagesse du vieux Jelly Roll") in ellipse, No. 22 (1978), p. 91. CP; PNC; CS.

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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309

Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Reprinted anthology contributions: A selection: Articles  

Burke, Anne (compiler)

B223      "Wanted -- Canadian Criticism." In Our Sense of Identity: A Book of Canadian Essays. Ed. Malcolm Ross. Toronto: Ryerson, 1954, pp. 217-20.

B224      "Duncan Campbell Scott" (expanded). In Our Living Tradition: Second and Third Series. Ed. Robert L. McDougall. Ottawa/Toronto: Carleton Univ./Univ. of Toronto Press, 1959, pp. 73-94.

B215      "Eclectic Detachment: Aspects of Identity m Canadian Poetry" and "A Reading of Anne Wilkinson." In A Choice of Critics: Selections from Canadian Literature 1964-74. Toronto: Oxford Univ. Press, 1966, pp. 25-35, 113-30.

B226      "Contemporary Poetry," "Introduction to The Oxford Book of Canadian Verse: In English and French" (excerpts), "A Rejected Preface," and "Wanted: Canadian Criticism." In The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 27-33, 38-41, 250-56.

B227      "Canadian Literature: The First Ten Years." In The Sixties: Writers and Writing of the Decade. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 97-103.

B228      "F. R. Scott and Some of His Poems" and "A Self-Review." In The McGill Movement: A. J. M. Smith, F.R. Scott and Leo Kennedy. Ed. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 82-94, 136-43.

B229      "Some Poems of E. J. Pratt: Aspects of Imagery and Theme." In E. J. Pratt. Ed. David G. Pitt. Toronto: Ryerson, 1969, pp. 139-54.

B230      "Abraham Moses Klein." In A. M. Klein. Ed. and introd. Tom Marshall. Critical Views on Canadian Writers, No. 4. Toronto: Ryerson, 1970, pp. 26-40.

B231      "A Letter" [July 1944] and "Wanted: Canadian Criticism." In Canadian Life and Letters 1920-70: Selections from The Canadian Forum. Toronto: Univ. of Toronto Press, 1972, pp. 56-58, 227.

B232      "Duncan Campbell Scott" (revised) and "The Poetry of Duncan Campbell Scott." In Duncan Campbell Scott: A Book of Criticism. Ottawa: Tecumseh, 1974, pp. 104-34.

B233      "F. R. Scott and Some of His Poems" and "The Poetry of P. K. Page." In Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 14-25, 80-91.

B234      "A Rejected Preface." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 585.88.

B235      "A United Personality: Birney's Poems." In Earle Birney. Ed. Bruce Nesbitt. Critical Views on Canadian Writers, No. 9. Toronto: McGraw-Hill Ryerson, 1974, pp. 141-49.

B236      "The Fredericton Poets." In Twentieth Century Essays on Confederation Literature. Ed. Lorraine McMullen. Ottawa: Tecumseh, 1976, pp. 128-39.

B237      "A Rejected Preface." In New Provinces: Poems of Several Authors. Ed. A. J. M. Smith, F. R. Scott, et al. 2nd ed. Introd. Michael Gnarowski. Literature of Canada: Poetry and Prose in Reprint, No. 20. Toronto: Univ. of Toronto Press, 1976, pp. [xxvii]-xxxii.

B238      "'The Recent Poetry of Irving Layton: A Major Voice." In Irving Layton: The Poet and His Critics. Ed. and introd. Seymour Mayne. Critical Views on Canadian Writers, No. 12. Toronto: McGraw-Hill Ryerson, 1978, pp. 43-48.

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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309

Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Reprinted anthology contributions: A selection; Poems  

Burke, Anne (compiler)

B196      "Universe into Stone." In The Best Poems of 1934Ed. Thomas Moult. London: Jonathan Cape, 1934, pp. 79-80.

B197      "The Creek," "Epitaph," "In the Wilderness," "Like an Old Proud King in a Parable," "The Lonely Land," "News of the Phoenix," "The Offices of the First and the Second Hour," "Prothalamium," "Shadows There Are," "A Soldier's Ghost," "To a Young Poet," and "The Two Sides of a Drum." In New Provinces: Poems of Several Authors. Ed. A.J.M. Smith, F.R. Scott, et al. Toronto: Macmillan, 1936, pp. 65-77.